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A few days ago, I wrote a very short piano work for my brother's birthday, which is not something I normally do. I realised early on in the week that I had not yet got him anything and decided to write and put together a music video in one day, as one does. Of course, I paired it with some colourful lyrics to express my utmost brotherly love and affection for him (translation: extol his persistently annoying behaviour and call out embarrassing moments in his life). To my surprise, he did enjoy it more than I thought he would, so that was a success! I've removed the lyrics for seriousness' sake in the PDF, but I hope you'll find something of interest in here. As usual, I am also always looking for feedback and ways to keep chipping away at my pieces even after I've written them. Are the two main themes different enough in character? Does the form feel awkward or bloated? Anything else of concern or note? One thing I will admit is that I probably should not have notated swing entirely with triplets, so that's something I've started to fix up at the moment... Promenade (2026).mp3 Promenade (2026).pdf

This is a project I have slowly worked on for about a year. Thoughts/comments/criticisms welcome. Edit: I have cleaned the scores up a lot. Prelude No 1.mp3Prelude No 2.mp3Prelude No 3.mp3Prelude No 4.mp3Prelude No 5.mp3Prelude No 6.mp3Prelude No 7.mp3Prelude No 8.mp3Prelude No 9.mp3Prelude No 10.mp3 Prelude No. 1.pdf Prelude No. 2.pdf Prelude No. 3.pdf Prelude No. 4.pdf Prelude No. 5.pdf Prelude No. 6.pdf Prelude No. 7.pdf Prelude No. 8.pdf Prelude No. 9.pdf Prelude No. 10.pdf

Wow!! These are great! I only wished that you posted these separately, as I hope these pieces get the attention they deserve being all together. I love this one, the drama in it is set up nicely with the climax, and the chord colors are wonderful. Great too, I maybe would have made bar 46 twice as long to really set up the cadence. Beautiful in it's simplicity, I like that you spread out the difficulty in the set, letting some be much easier to play than others. It gives a better flow to the pieces as a whole as well. Part of the arpeggios are in the right hand, correct? I would have notated that in the score. I really like the drama in this, and even though it wasn't my favorite theme, you developed this really well. I like the texture change in the middle. Lol mock serious swagger :D This was super fun! The jazziness was a welcome change after the first 4 pieces. What about marking "freely" at bar 27? Do you want the RH rhythms right on the dot? Or is there an improvisatory aspect you're going for? It might be cool to let the player syncopate the rhythms to go with the steady walking bass. I like that this one broke away from the ABA style, I like the evolving part of the form. like an ABAB, textures markings the sections. I really like those ethereal RH figures with the low bass. Awesome fun! Kind of reminded me a bit of Baba Yaga, Mussorgsky piece. The ffffff is kind of excessive, but I'm guessing it's for playback purposes. Loved this one! Much needed after number 8, as overall these preludes are on the heavier side. It sounds sweeter to my ears after the last one. Ended with a bang, the drama is great here! I must say, that overall I really loved the order of this set. Not sure how intentional it is, but it really made listening to this as a set more fun and enjoyable. Your talent is massive, I wish we heard more from you! Life is busy, but I'm glad you find the time to stop by and share what you've been working on. There's some small editing errors, nothing major that jumped out at me (copyright 2025, stuff like that). Your style is right up my alley, and I immensely enjoyed these. Thanks for sharing, friend.

Actually, I was mistaken. The areas I heard weren't parallel 5ths, rather, parallel 4ths. Which are still just as weakening to the overall harmony, in my opinion. places like in measure #51 between the clarinet and flute, for example. (b. 51 Flute & Clarinet) two parts moving at a 4th or 5th interval back to back like that is something to be avoided, as a good rule of thumb, when it comes to composition. (P.S. I've said this before, I think, but GAWD I hate noteflight's navigation... 🤣... Makes me wonder why most, if not all of us just simply use musescore, but to each their own!)

What fascinating music. The compositions are fantastic. The piano part is very well crafted but complements the vocals perfectly. I think you’ve captured many Latin rhythms perfectly; in this style, it’s difficult to separate the Spanish from the Latin American elements, as the influences are mutual. I really appreciate the effort you’ve put into playing the piano yourself, as I understand it. The overall sound is very distinctive because this cycle of songs sounds entirely like a style of popular Spanish ‘tonada’ (from which the ‘tonadilleras’ are derived). Originally, the ‘tonadilla’ was a traditional Spanish song of a cheerful and popular nature, performed as an interlude or at the end of satirical plays between the 18th and 19th centuries. Over time, the concept evolved from classical theatre towards the café-theatres and variety shows of the 20th century. Nowadays, the term is directly associated with the great divas of Andalusian copla and Spanish folklore, characterised by their high level of expressiveness, the wearing of long-tailed gowns and a highly dramatic stage presence. Initially, this type of music was accompanied by the guitar and perhaps a small orchestra featuring folk instruments (castanets, tambourines, dulzainas, etc.). But at the start of the 20th century, it evolved to be accompanied by a solo piano – which is how your music sounds – and it also has a very strong ‘cabaret’ feel to it, as it is recorded live, as I gather. As for the language. Well, I’m a native Spanish speaker. It’s quite – very well done. I’m also struggling with these programmes that sing along to lyrics… and I know what a pain it is… The accent is very neutral. It certainly doesn’t sound like any Latin American accent I recognise, let alone an Andalusian one. It’s close to a central Spanish accent (Castilian, as you rightly say) but there are moments when it sounds a bit ‘forced’ – something that many real singers in Spain do. Bravo, and it’s a pleasure to listen to it. And I love it when someone delves deeply into cultures that aren’t their own, perhaps, to bring all this out.

Thanks for the positive feedback! Where specifically did you see I used parallel 5ths? It would help me to go back & relook at them. I composed this before I even knew what a tonic was😂

I wrote another Romance for my girlfriend Julia's birthday. I hope you enjoy and let me know what you think! Romance No. 2.mp3 Romance No. 2.pdf