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Hey everyone 🙂 I've been slowly plugging away at a cycle of 24 preludes. I got pretty slow with this (ending up only writing like one prelude per year for the past couple of years) so hopefully I'll pick up the pace now that I'm pretty close to the end (8 left to go!) Bb Minor is maybe my favourite key signature, so it was pretty hard to decide what this prelude would be like. The theme is 'Masquerade', and I think the personality of the piece is quite hard to pin down, a mix of sarcasm and earnestness. Hope you enjoy! 🙂 this is my first piece I'm posting on this forum, but obviously feel free to check out anything else on my channel + especially the first fifteen preludes in the cycle so far, haha

Good evening again, dear friends. Although I have posted all the movements of the sonata separately, here I am sharing the entire sonata, where you can listen to all the movements one after the other for a better experience and appreciation of the work. It may not be something innovative, but it is the musical language that expresses me, and that musical language is classical pre-romantic. I hope you enjoy it. Thank you once again.

Happy Winterval to all! This is a work I posted previously in the incomplete section, and it takes the form of a mini-concerto for violin (with the movements indicated by the rehearsal marks). It's more or less finished now; though I may still have to tweak some of the voice leading, and haven't started writing in the slurs yet. Since I last posted it, have added a coda at the end, and a whole bunch of counterpoint throughout the piece. (N.B. Rehearsal mark C indicates the start of the coda.) The work was inspired by Vivaldi, along with a modern work called "The Gold Standard" by Richard Harvey. (The latter was the main inspiration for the coda.) Think the most successful melody-line is in the second movement, as this carries emotional weight for me. The other two movements are more like baroque dance music. (I could imagine the cast of "Bridgerton" dancing to them at a ball!) I may have to cut the work down, as we're not really supposed to go over 5 minutes, and I'm now at 6. So any suggestions about where I could cut would be very helpful. Not quite sure the structure is properly balanced at the moment, or whether the movements gel together as a coherent whole? Any suggestions on what to name the piece also welcome. N.B. The dynamics and articulation are intended for midi rendition, and will have to be adjusted before I send it to the orchestra who are performing it next year.

I would enjoy to participate in this event, too. I hope that I can accomplish my contribution within the next two weeks. Looking forward for listening and reviewing the contributions of other participants

hello peter, I am interested in joining as well

Dear friend, thank you so much for taking the time to comment on my sonata, and thank you as well for your appreciation and for liking it so much. It was my greatest challenge so far to write a large classical sonata, and I’m incredibly happy that I managed to do it — and most importantly, that people who have heard it enjoyed it. The truth is, when I compose I don’t really think much about which modulations I’ll use; the nature of the piece and the themes themselves somehow guide you, helping everything flow naturally. It’s something truly inexplicable and magical. I worked quite a lot on all the movements, and I’m extremely fond of the minuet and trio — especially the trio, which I believe is, both technically and musically, the best thing I’ve ever written. It’s as if an invisible musical force helped me create it the way I did. At the moment I’m taking a long break from composing because I had become a bit exhausted, and I need some time to recharge before starting up again. Of course, it’s also a matter of limited time. The programm I use for the score is dorico 5 elements. I'm still learning it . Is very user friendly I recommend it. As for a piano concerto, I would love to write one — it would be a dream. It’s my favorite genre. I haven’t planned to start one yet, but maybe I’ll attempt it in the future. Once again, thank you for your kind words.

“ The calm before the storm, the feeling of eating gas station sushi except instead of intestinal problems it’s your ears getting that treatment. Sonic diarrhea is a seven minute work consisting of random noises, groovy melodies, and the sonic equivalent of having a horrible stomach ache… it’s great for the performers too. They get to have a little bit of fun. Structure: this is treated like a Rondo if you may, (ABACA) we have the sonic diarrhea theme (A) , a calmer theme (B) and a very jazzy theme unexpectedly (c). Enjoy!”

yeah :D

And I thought those low D-sharps on the basses were far too excessive! I couldn't even bring myself to sing below a very awkward-sounding E despite technically being a baritone. I wonder how potent of a voice a deep bass singer must have for such a B-flat to be remotely audible as pitch instead of pure vibration. To me, such extended ranges seem far more extreme than the usual alto-contralto range, which I believed is usually cited to reach down to an F below the staff. In any case, the concern is understandable. This fugue was originally set for D minor, as much of a nod to Mozart's heavy association of death with this particular key as a matter of convenience in order to adhere to the standard ranges for vocal music, which as we know often tend to require more conservative estimates in choral settings. Unfortunately the digital choir soundbanks I'm using struggled far more just a semitone above in certain passages, with certain octave leaps in the tenor part sounding especially screechy, so in the end I was forced to choose the lesser flaw and thus had to resort to lowering the whole piece to its current key. I hesitate to even call it a double fugue, as what might appear as the 2nd subject is in fact merely derived from the first, and I certainly would not dare label it a triple fugue, despite the relatively minor changes undergone by the subject that would normally not be explained by a conventional tonal answer. The stretto treatment is undergone first by what could be considered the 2nd subject following its own development section, and only then does the stretto for the original subject come about, thus helping cement an overarching ABA' superstructure that unifies the piece as a whole beyond mere exposition, development, stretti and codae in cycling motion. As for the Christmas Music Event, perhaps I might be able to submit a proper piece before the deadline. As of lately I've been considering a 5-part motet rendering of "O Magnum Mysterium", though I may consider other related texts to the same effect. In any case, I'll let you know in the dedicated thread if I manage to finish anything suitable in time. Thank you for your review!

Great use of percussion in this work, including a load of techniques and instruments I'd never heard of. I hope the propane tank is empty; otherwise you could have an explosive ending!

Hello again @Vasilis Michael! What can I say? This is a masterful sonata that I can enjoy from beginning to end as if it's a masterwork from the classical era! Honestly, the only part I ended up skipping through is the double exposition in the 1st movement! You are steeped in classical pianism and it shows! There isn't a single awkward moment nor bad transition in the whole piece! The tonality is so free flowing and adventurous! It's amazing that you managed to start and end each of the movements in the same key - the freedom of the chromaticism is something I'd expect of free-tonal pieces that modulate when they want to without any obligation to stay in any particular key. The abundance of themes is also very Mozartean. And they are very delightful and musically interesting - I wouldn't exclude nor add to any of the movements in any way. I think they are perfect just the way they are. I don't usually like slow movements but the peace and calmness and the space in your 2nd movement was captivating and adept - it kept my attention throughout and has a warm place in my heart. The minuet and trio was also very expert - I loved the E7 b9's! All your phrase extensions are also perfectly calculated and none are too long nor too short. But my favorite movement is for sure the 4th and final - I loved the cross relations! And I think your chromaticism really reached new heights in the final movement. It also has a somewhat Mazurka-like character to it that I really like. Overall - I cannot say enough good things about this piece! And the fact that you provided a very polished final score engraving for when you compiled the whole sonata in the final YT video is great! What program did you use? Thanks for sharing and by all means keep going! Do you ever plan on writing a piano concerto?

This is a really good piece!!! Interesting name lol 😂, i did see some impossibly high clarinet 1 stuff, but i think if you replaced it with an Eb clarinet you’d be fine! Awesome piece

It reminds me of 20th century neoclassical. Very nice.

I like how creepy it sounds and the dissonance you use! Kinda reminds me of shostakovich!

Dear friends, hello everyone! I'm Zhang Wenhao, a singer-songwriter from China. Today, I'm here to share with you an inspiring rock song called "Unextinguished Spark". The style of this song is inspired by many classic Japanese anime theme songs, encouraging everyone to hold on to their dreams and never give up easily. 亲爱的朋友们，大家好！我是来自中国的创作歌手张文灏。这次来跟大家分享的是一首励志的摇滚燃曲，名字叫《不熄的火花》。 这首歌曲风格的灵感来源于很多经典的日本动漫主题曲，鼓励大家坚持自己的梦想不要轻易放弃。 歌词如下/The lyrics are as follows： 《不熄的火花》/《The Spark That Won't Go Out》 作曲/Composed by：张文灏 Zhang Wenhao 作词/Lyrics by：张文灏 Zhang Wenhao 一次命运 偶然眷顾的微笑 让他从此 将毕生热爱找到 踏上了一条 漫长的跑道 微弱的火苗 在冷夜里不熄灭地燃烧 失意常常在他身边围绕 也偶有微不足道的骄傲 前路多糟糕 身心多疲劳 他都没想要 放弃奔跑 理想和热爱就像不熄的火花 哦 他想 总有一天能燃起滔天的热浪 哦 他想 每一个人都会有 为理想战斗 奋不顾身的时候 每个人也都会有 看不到尽头 想要放弃的时候 请继续坚定地走 别太过担忧 再耐心等一等 你想要的一切都 在不远处 在向你招手 失意常常在他身边围绕 也偶有微不足道的骄傲 前路多糟糕 身心多疲劳 他都没想要 放弃奔跑 理想和热爱就像不熄的火花 哦 我唱 就在今天燃起了滔天的热浪 哦 我唱 每一个人都会有 为理想战斗 奋不顾身的时候 每个人也都会有 看不到尽头 想要放弃的时候 请继续坚定地走 别太过担忧 再耐心等一等 你想要的一切都 在不远处在向你招手 每一个人都会有 为理想战斗 奋不顾身的时候 每个人也都会有 看不到尽头 想要放弃的时候 请继续坚定地走 别太过担忧 再耐心等一等 你想要的一切都 在不远处在向你招手 你想要的一切都 在不远处 在向你招手