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I tried to make a song based off early internet viruses, even from before I was born using my notations software's transistor bass, made in 1988 with it unchanged since. sorry for the audio being absolutely chopped and laggy, i just might of went a bit crazy with the drums😅

Hello folks! Been a little bit (always is a little bit between when I talk on here it seems) I've been hard at work at college writing all sorts of stuff, but amid all the music I'm writing and playing for school, I've also been working on a personal piece for solo piano. Dedicated to someone I love very much, the piece is an exploration of love. Movement 1 is the only movement written so far, and it is about passionate love (maybe I'll call it Eros. Still figuring out names or if I even want names for the movements.) I'll explain the movement's structure so you can maybe understand what I'm trying to do. Intro: It starts floating on an A dominant 7 chord, overtop of which soars a delicate but sometimes dissonant melody with huge leaps. It remains in this uncertain space a little while. Then it bursts into arpeggios and a fanfare-like triplet motif in F Major, gradually building more and more, before collapsing into the exposition. Exposition: The first theme in F minor is fiery and built from two motifs, the passionate right hand and the rumbling left hand. Cadencing in the relative major, the motifs then set off to transition to the next area. The second theme is in the distant key of D major and is a beautiful transformation of the melody from the introduction. A recurring turn motif brings the melody to its PAC and the closing theme commences with triumphant arpeggios (you will hear the inspiration from Chopin Ballade no. 4) but is suddenly overturned by D minor with the rumbling left hand motif of the first theme, ending the exposition dramatically in Bb Major!! Unlike I think literally all of my other sonata form pieces, there is no exposition repeat before the development. Development: In the soundscape of the exposition's closing chord, the developed introductory melody quietly emerges, again unsure, interwoven with fragments of the first theme. Eventually the second theme's rumbling motif takes hold, and a series of violent sequences commences. At its climax, it collapses again in a whirlwind. Out of the bleak, emerges now the second theme, in a hopeful manner, modulating from Ab Major to E minor, and finally culminating in the most passionate and beautiful variation in G Major, with repeated chords and heavy rubato. It reaches its turn motif and PACs in G Major erupting into the closing theme arpeggios, but now being derailed again, even earlier than last time into C minor! And now we're at the Fugue, based on the same rumbling left hand motif that's been so persistent in the development. After reaching its peak, it sequences a little more and is now in C Major and has successfully set up the dominant retransition to the tonic F minor! Recapitulation: First theme is mostly the same as before. The transition is however different and more "bravura" than before. The second theme tragically is now in F minor, and doesn't get its old turn motif to cadence, and instead prepares to close the movement in the drama of the first theme. But it's diverged! We move away from that extreme low register now into the highest register as we hear one last time the full second theme in F Major, much barer and more suspended, but again with its cadence motif. But it doesn't finish quite yet. It repeats the motif, before slipping back into an A dominant 7 chord for the coda. Coda: Largely an exact repeat of the introduction, but what was before a solid dominant pedal, is now broken up by the tonic in the bass, giving a more resolved sound. With no more burst into F major, the movement closes on low D Major chords. Now the reason I really want your guys' feedback is because I want to play this for the dedicatee soon, and I just want to make sure it's perfect before I present it to him. I did show the piece to my professor, but he said it sounded too traditional and suggested I listen to Sciarrino for inspiration 🥲 Let's just say I have different taste than him lol. The performance isn't perfect, and the score is very unpolished! But everything should come across pretty well hopefully. Thank you in advance! 😄

“Greetings, dear composers. And with this Allegro, my second sonata is complete, and I am very happy and satisfied with the entire work. This movement is like etude of modulations, but I believe I have refined it well enough for everything to sound natural and have the right balance. I hope you like it.”

p.s. i hope you don't mind, I attached a one-shot sightread of this piece. obviously a lot of mistakes as completely unpracticed, but I like playing through scores I like as it builds my familiarity + understanding of the piece. I think I feel less strongly about most of my above pieces of constructive feedback having played through the piece, other than still thinking that page 2 is unnecessarily floral for what is kind of a simple theme and the fugue does feel a little underdeveloped. Warning in advance that there are lots of mistakes but I think there are also lots of parts which alright and you might appreciate hearing someone else play through your music 🙂 you can hear me get a lot more confident at the recap -> coda I think.

Oh this is awesome 🙂 very full of life and joy, lots of humour in the modulation that never gets too excessive but remains very deft and fun throughout. Everything phrase feels very deliberate and rewarding! It is hard to pick any favourite moments given how well considered the whole construction feels. Entrance of the main theme reminds me a little of I think Stephen Heller's piano sonata no.3 in C major, 1st mvt. 🙂 edit: forgot to mention, final 2 bars are an absolute delight edit2: it's piano sonata no.3 not 4, i misremembered

Yes, I mostly write in a stream of consciousness. I often use either modes or pitch-classes. Although, when I have 3-4 different, contrasting parts, I often try to repeat some or all parts, maybe in another way, slower, faster. Just now, I'm writing something where I take the first theme, which was made in C aeolian, I repeat it with the first two bars in A harmonic minor, the next in B harmonic minor (not transposed just fitting the notes in the new mode) and then harmonizing in these modes. So I rarely use strict functional harmony, although I sometimes do. My ideas for harmony is also inspired by modern jazz-fusion as well as classical. Someone like Allan Holdsworth, that wasn't educated in music, but created his own weird harmonic language with complex chords that sounds great (IMO) but without functional harmony. If my choice of harmonies reflect that, it's an honour! My "stream of consciousness" are also inspired by Danish late romantic composer Rued Langgaard, especially his 4th symphony ("loevfald" - the falling leaves). Also, I try to go a bit further sometimes, like taking some ideas from "twentieth century harmony" by Vincent Persichetti, and using that as a starting point.

To be clear: this is a really awesome and impressive work. I have included a bunch of constructive notes in this since you seem keen for some 🙂 listening/reading notes: Introductory page is extremely beautiful. Love the improvisatory nature, spacious without feeling empty [Have to say I am not a huge fan of the F major melody on page 2, it feels a little straightforward to me] Modulation in bar 26 is very nifty 🙂 Love the bass motif in the main F minor subject, very characteristic and memorable Reappearance of the intro subject at 67 is great, everything up to the build and surprise Bb chord (fun trick) at 94 is awesome [95-108 is a little meandering for my taste] Modulations through 117-143 are very compelling and exciting 160-163: *chef's kiss* reminds me of some Rach climax harmonies here. Arpeggios at 165-180 are a little extravagant for my taste Fugue at 181-196 has a nice idea, you have a great subject, I just wish it had a little more time to breathe (4 voices enter on the subject without any development time between their entries). in this area bars 190-195 feel the most effective to me because they feel the most balanced; the voices here have rhythmic variety to distinguish themselves clearly and there's a little more negative space to guide the ear. I feel like the classic fugal structure of introduce voices 1 and 2 (maybe 3 if you're feeling brave), and then have some development time before introducing more voices, would work well here. It feels a little more like a gesture towards a fugue than a fugue (maybe it's a fughetta). Recap is great 🙂 i do like this theme a lot. The crunchy move in bar 229 is great 263-290 feels like it could be trimmed. We've just heard this theme in the recap a few moments ago anyway, and the straightforward dotted rhythm is not the most exciting thing to zone in on for several more bars. It feels the movement on top of the tremolo is a bit slow. But the exit out into 291 is very beautiful. I love the intro, so obviously I love the outro too 🙂 And to be fair, the F major theme from the start pays off pretty well in bars 317-318, great way to finish. (Maybe just something a bit briefer / less extravagant than page 2 would suit me.) I really like this piece! I think there is possibly a 12-13 minute version that I *love*, but it is not my place to play editor haha

Hi Stig. Just listened to "Evening Sun" It seemed like a stream of consciousness; rather than something with a fixed structure (such as Sonata form, Rondo form, etc...). I found some of your harmonies quite interesting and unexpected. Perhaps this is your unique way of composing. Have subscribed to your You Tube: so will try to listen to more of your work in the future.

It is well-constructed but reminds me too much of these semi-atonal things I wrote in college, like my monstrosity of a clarinet sonata! So, I love it, but do not like it.

Interesting...I might look into it if life gets a bit less crazy, as it has been for me this Fall!

You don't really need to learn how to use MuseScore. All you need to know is how to import a MusicXML file, and then export the audio file. Two very basic functions. The virtual instruments and voices are assigned automatically. Of course you can get better results by tweaking some of the dynamics and articulations; but you'll get a decent audio without doing any of that.

@Churchcantor Almost nobody is familiar with Jommelli, and more is the pity. His Requiem is in E-flat major, yet it still sounds appropriately sombre. There are several good performances available on YouTube. Here's a link to my favourite:

@Thatguy v2.0 Here's my review on your prelude: 1. Harmony: The harmonic language throughout this prelude is lush, and beautiful. There are moments of chromaticism that create a sense of romanticism and yonder. Ex: b 26. I love how that sonority sneaks in and breaks the diatonic harmony. 2. Melodic material: You have established clear melodic motive the flows nicely with the harmony. 3. Character and tone: I feel that this piece is a romantic style prelude. Either chopin or Rachominov would have wrote something like this. 4. the score is readible and playable. Overall i enjoy it. 🙂