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Hi again, I had the thought that I wanted to do some smaller stand-alone pieces that would require less stamina for people to play and that were short enough that I could do the calligraphy aspect without a significant time investment (I don't use stencils or anything)....the thought kind of arose out of doing the piece for Mike's slur video which was along those lines. Here they are with the scores in the video, and the newer one is on flemish virginal instead of clavichord which is cool. They're not a set but they're both small so I figured might as well put it in the same post. It would be awesome if someone out there decided they wanted to play stuff like these, since I made them so they wouldn't be such a huge undertaking but would still give people the vibe they're looking for with the late Renaissance.

A friend of mine was lamenting the fact that nobody has ever made something special for her, so for her upcoming birthday, I've written a set of orchestral variations on "Happy Birthday". Variation II contains a figure based on scale degrees that spell out her birthdate, while variation IV contains an ostinato based on her initials. Any comments or criticisms would be most appreciated!

Hey @Aiwendil, I love the orchestrated version of the Happy Birthday! And the countermelody added in variation 1 is so energetic like in many of your previous pieces. Sad, my figure will be a boring D major chord LoL! But it’s quite innovative to use this method!! For the fugato there’s a parallel fifth btw viola and 2nd violin in b.73. Also the key signature should be d minor? I really love the orchestration here! Maybe you can go into some more closed keys like F major and A minor! I love the Dorian favour in var. 5. And for bar.6 it’s so clever of you to change the melodic contour which change the mood to more contemplative! The ending variation is so grand and the climax is so well prepared with those flat key progressions!! Maybe you can quote one last time your friend’s motive at the end by the trumpet! Just like the end of the 1st mov of Mahler’s 6th when he quotes the Alma motive one last time at the end! Thx for sharing! I love the orchestration and your variation treatment! And if the variation king @PeterthePapercomPoser approves I approve it hahahahaha!! Henry

Hey Pabio @Fugax Contrapunctus, Another nice fugue! Just two questions: will the pedal part be able to play those quick notes like the passage in b.51 or similar places? I am afraid maybe the feet cannot play that? Since I can never play football. Another one is why the International Women’s Day will be related to a pedal harpsichord? Thx for sharing! Henry

Yeah, you are right. This work-around is valid. Its really annoying that they won't allow this in normal, since I really enjoyed cross-rhythms by juxtaposing peculiar tuplets with normal notes. That rubato-like floating sense is so enticing. I can not imagine 5:7 in triple or quartal meter, though😂

Wow, very cool piece! It's very refreshing to hear something written for guitar(s) and have it be written by someone who knows their instrument. As you know, guitar midi is by far the worst of midi attempts to recreate a particular instrument, so I ran through a bunch of the parts (am guitarist). I love the clever use of open strings, something that your midi rendition unfortunately can't replicate. The Cmaj7 chord in guitar 1 for example, or like the static rhythms at section C. Awesome stuff. As a side thought, how come you don't record this? Can you perform both parts individually? Yes, it wouldn't be as "natural" with 2 performers as intended, but it would surely give your listeners a MUCH more clear and enjoyable experience (you would enjoy it more too). Unless you're recording this at the festival? You use some pretty interesting chords too, like the strumming sections with a lot of open string chords. All in all, the piece has a very unique harmony throughout to my ears. Wonderful job! I'll leave with a few notes: -mpi at bar 54? -What does this mean? -I had some thoughts on the strumming patterns and the tremelos, but are you fingerpicking the whole thing or switching to a pick at all? -The harmonics are cool, but I felt like you could have branched from hitting all the strings on 5 7 and 12, unless they're "effects" instead? I know you pick them apart later, but it just felt a little "stock" is all. It's hard to tell from the midi 😛 I understand your piece is done, but just some thoughts for the future. This is a lovely composition, and it was really fun to play along as I listened 🙂 P.S. What's the festival?

I'll admit that I don't mind Wagner. He was a control freak, and the perfectionist parts of me can appreciate that. :)