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Haha, indeed, we are influenced by what we listen, we all are... Nevertheless, I would definitely encourage you to continue the journey, and exercise your composer skills on this work you started, by introducing some melodic phrases. My (limited) experience in composing clearly shows that the journey is hard, but really fascinating.

Wow... Thank you very much. I had this "theme/figure" in my head for so long and it felt familiar, but I didn't know where did it come from, so I thought it's mine :D. Now I know, so I think there is no need to reinvent the wheel (especially by Bach), so I better leave this theme to Him, cause he just does it better :) It's really interesting how we can subconsiously "compose" something already made

Hi @islav , compositions such as yours is one of the reasons why I am keen to be part of a platform like youngcomposers: your work is really novel and inspiring. I didn't like everything, otherwise the many changes of rhythm in the melody, as well as the many strange and unexpected dissonances make your piece very coherent. Things I didn't quite like (really personal taste): bars 7-9 were too mellow for me I felt like the end was too abrupt, and didn't really go well with the piece I felt like the trill was used a little too often (e.g.: bbs 58, 67, 69...) Things I particular liked: the transitions in bar 20, bar 39 or bar 53, really surprising and somehow relaxing the rhythm pattern you regularly use, e.g.: in bbs 43-45 Thanks for sharing and continue the good work! Julien

I present to you my next cantata - "Laudate, pueri" (Ps 112) for tenor, flute and basso continuo consisting of 6 parts. It's rather short and for small ensemble, but it has a chance to be played in real life - until then computer playback will be added. It's meant to lighter than my previous cantata, with more concertante technique used... The first part is a dialog between two soloist, the second (and fifth) is tarantella-like with basso ostinato. Third and fourth i wrote what I had on my mind XD. Fifth is fugue (or fugato to be exact i think) with soloist doubling the theme entries. Any tips and feedback welcomed! Laudate, pueri.pdfLaudate, pueri.mp3

Hi @Josquins turban , I tend to agree with MK, it's a little too repetitive, even if the patterns you chose, and the harmonic progressions are nice. It somehow reminded me of Prelude No.6 by Bach - BWV 875 --> if you don't know the piece, check it out, it's interesting how much variety of rhythms and melodic materials he can use. This can definitely give you some hints. If I had to elaborate on your work, I would typically introduce some slower melodic material in bars 4, 12... before returning to your transition material (yes, I think that's my feeling, you have good transition material, but I don't feel there is a theme sticking out...) Thanks for sharing and do share the evolutions, I'm keen to see how you've decided to make it evolve! Julien

This is a quite small and simple pavane i made some time ago listen to Pierre Phalesè pieces, i hope you guys enjoy it, i might compose a galliard to accompany but i'm not sure yet! by the way, the instruments are not bound by their physical limitations, in this case, this shawm consort can't reach some notes i wrote. The reason why is because it's the soundfont that fit best for this piece. LOB 126 Padovana Antiqua.mp3

I first encountered this work by Pärt as a teenager through a music teacher. The purist in me for tonal & well balanced music would usually have me running for the hills from this thing; yet I am captivated by it for the mad comedy Pärt produces here. I consider it a kind of trolling of epic proportions and he no doubt had much fun writing it. It is also fascinating to read the score alongside the music to see how the sheer chaos is actually written. At face value it seems much of the chaos is somewhat improvised with a little guidance. It is definitely art; but this kind of art doesn't usually undergo repeat performances!