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This was another fun project with the Grand Valley State University composition studio. We were given details about the inner workings of our carillon towers and given the specific set of pitches that could be triggered by the tower's computer via midi. This is what I was able to create given the pitches. What a fun project!

At the moment for the suits at record companies and TV editors LOL But honestly, I'm different from most people regarding this, and kinda always have been. I don't try to do the "modest" thing. I compose music to be listened to. I honestly just don't really see the point in composing, otherwise. In composing "for myself" I've always composed because there is a piece of music in my mind that I want to hear, and I haven't found anyone else composing. That's not to say it's a terribly-original idea (I hardly care about being super different tbh) but it's presented in a way I want to hear and no one else is doing, or at least I can't be bothered to dig that long to find it, so I'll just do it on my own because that is faster. So I compose for myself from the perspective of a music appreciator rather than a composer. I hear these composers who say "Oh I don't listen to my stuff once I'm done with it." and I'm just like "WTF is even the point then if you're not going to enjoy your own work?" But also, and (bizarrely) more controversially, I want to try and contribute to not just culture, but a high-culture that promotes beauty and excellence. I care about the craft of composition, and want to keep the traditions that our ancestors established alive; ideas that worked to create their timeless pieces that have inspired people across cultures for generations in the hope that maybe one day I'll be able to achieve the same. That necessarily involves the approval of other people, and despite the tortured wishes of many today, "good and bad" or "beautiful and ugly" are much more universally-recognized than some would have us believe. So whether or not you're creating something that will really resonate with people really isn't a matter of chance. When you observe what the consensus around your work is, the attention it is getting or not getting; it lets you know how well you're progressing. If tons of people are saying "You suck", and you care about bringing joy to people instead of misery and aural obscenity, it will force you to try harder and to learn more about the craft. Lastly, it's really great when you make something that does bring joy to people. Over the years, I've been fortunate enough to have received comments and messages from total strangers saying they like my work, it uplifted them somehow, and it inspires them in their own. That's what it's all about. Depends on the "others" in question Depends if it's a lay person or another musician. There are a lot of musicians on the internet who can blow it out their @$$ tbh One of the things that keeps me coming back to YC is this is one of the few places on the web where the feedback and responses you get from people is generally coming from people who know what they're talking about, and do make valid points if they have something negative to say. It's not like that elsewhere, though. I actually read one of Christopher Siu's daily spam emails he sends me recently that talked about how on forums, there are usually all these arrogant people who provide trash feedback, and that is often the case by my experience in decades of music forums and the like. Usually, there is one or two guys who give the majority of feedback, and they always have very strong negative opinions and telling you what to do, but they themselves are actually of abysmally-low ability. They've never written a coherent melody in their lives, but are quite certain there's much wrong with yours. Thankfully that's not happening here; Henry gives feedback on just about every piece, but Henry actually knows what he's doing and so it's worth listening to him.

This is a piano sonata I've been working on. It's sort of a venting piece for me. I write it while dealing with the thoughts of being a gay man in a conservative Christian community, so I think it's applicable for Saint Valentine's Day, but instead of "I love you," it's more, "I wish I could love you (without being abandoned or shunned by everyone I know)." Kind of melodramatic, I know, but I'm pretty happy with it so far. I plan on making 2 more movements. Forgive my mistakes in the piano recording, (especially measures 246-7. Yikes, I butchered that)!

Hello everyone, After a few months of absence, I come back to see you for a new piece for voice and orchestra. I reconnect here with the poetry of Jules Laforgue, which is very dear to me. Very squeaky and pathetic poetry, with in French popular accents, elisions, a little familiar words, like a childish language. I subtitled with an English translation a little google, which probably does not do justice to the beauty of this poignant text. As usual, I record my voice in my home studio, and the instruments are from Spitfire Audio. The score at the base is written for piano, but directly designed for the orchestra, (and very little pianistic, which is why I did not wish to make a piano/singing version of it). Sorry not to present you the edited score, it's always in a project with my compositions, but it takes a lot of time that I unfortunately don't have... Thank you for your advice and comments! Krisp. https://youtu.be/WMvtnort3Fk?si=VnKCpOjeRvcWZczq

Here it is! The submission for the Valentine's Day Event! To say that composing this piece was a hectic process is an understatement. Heck, I'm submitting this piece on the day (or night) of the deadline! I think I was going with the joyfulness aspect of romance, with of course a little bit of dark theme (just the minor version of the main theme really lol) mixed in there. This piece also contains a theme from a sketch that I have always wanted to explore. But yeah, dunno what else to say other than to enjoy the piece!!

When we would take walks at night, she would always run her hands through the lavender bushes and inhale them deeply. Her face always lit up with bliss from the aroma. I don't see her anymore, but it's a memory I'll never forget. Hope you enjoy!

Yo @Louis dB, There's a parallel octave in b.2 from A to F#, a p. octave in b.3 from G to F#. I would also prevent the double leading tone (C#) in b.4 and b.5 (G#). Henry

This is by far one of the most interesting things I've listened to in a very long time. I absolutely love it!!! Your textures are so varied.

These are great and charming pieces! I guess you are still learning, but I feel like these pieces aren't very ambitious. It's easy to get stuck in a certain rut when learning music. Maybe it's your preference to compose only classical galant pieces but if you ever want to grow beyond that you should explore other styles! Even if you don't know the first thing about how to write in other styles you should just experiment and try them out and see how you do! That's my advice - but of course I enjoyed these very much! They are very good for having been composed with the intention of only using one kind of rhythm! Great job and thanks for sharing! Peter

Hi @olivercomposer! The pauses in the beginning sound very grand and dramatic and give the music room to breathe. When the choir comes in you also up the intensity and motion of the strings which really makes it sound very dramatic! I think I've noticed a certain habit of yours that is almost a cliche that is present in almost all your melodies - you very frequently land your phrases on the 5th of the scale in their conclusion or right before their breath. Not necessarily a good or bad thing - just a characteristic I'd say. Thanks for sharing! Peter

Hey @Gabriel Carlisle, I like the beginning with a more mysterious sound with the electronic music. The repeated patterns create a somewhat primitive mood of an ancient temple. I like how you invite the marching rhythm alongside the hook at the beginning too. I think the contrast of the two halves is not really big and you may include more agitated mood in the second half! Thx for sharing! Henry

Hi @Gabriel Carlisle, I like the opening Dorian phrase combined with the high register! I think it does create a broad view to portray the Horizon. The overall more static mood makes ,E imagine that I am driving my spaceship and watching the eclipse near the moon! Henry