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after procrastinating in enough time, I actually had listened to it, and after even more procrastinating, I am now going to write my opinion in review first off this is amazing piece of work and it was all enjoyable. Even the use of extended technique was good and also also the recording quality was also phenomenal. This would be programmed well for an Easter or coming of spring concert and I appreciate all the different tambre in harmonic use you use. especially at the last scene with the use of minor seconds to convey some sort of sour bitterness following jesus’s death. it also had a hymn like feeling to it as well. Great job

Thanks again @gmm for your review. I will definitely have a go at extending the piece along the lines you suggest.

Hi @gmm , Many thanks for listening. I'll take another look at that divisi, and revise. It was optimised for midi rendition, as were the dynamics: so I will have to make quite a few adjustments when I come to make a proper orchestral score. Otherwise the dynamic balance doesn't work well for real musicians.

Hi @Alex Weidmann , I really like your arrangement! The orchestration is very vivid and colorful, and I overall found it very enjoyable to listen to! The only thing that seemed odd to me: in measure 20-21 the divisi in the violins seems odd. You have effectively four voices, but you have the entire Violin II on one voice, half the Violin I section on another voice, and the other two voices split between the other half of the Violin I section. It would seem simpler to just have these four parts split evenly between the Violin I and II? Either way, great orchestration and very fun to listen to!

As we transitioned into the off-season, I have finished a project that I intended to finish and to start for months ago before the competition on here in the competition on the music conservatory (the discord server with the tournament). So I am very proud to announce my next production in piece titled MORSE (I originally did it without caps, but it just sounds cooler with caps) Program notes: Monday when I was in my maths class with my friend, we were very bored and decided to communicate and make small jokes in Morse code. Of course, I questioned him if he knew any of it which he did sometimes, and we can just joked around teasing each other with it at the end of the day I had a thought. "maybe I could turn this into a actual piece of music." which I did. Other than just blatantly straight out just normal Morse code. There is a larger image to this. It's the idea to find the answer to many things. We may have to look where places where nobody expects us to look to find answers to simple questions. We must use clues in order to decipher ideas. There are, four movements a opening movement, drawing inspiration from infinity, percussion's "resønate" featuring various meditative percussion instruments, a slower, 2nd movement, a 3rd movement, which is to pose as a Scherzo and Minuit and a grand finale with its closing statement almost resembling that of Dvořák's seventh Symphony (which somehow I have transformed from a previous statement of a motif and theme presented in the 2nd movement So, after all these months of stalling and procrastinating and dealing with other stuff, I have present to you, my production MORSE Morse.mp3 Morse.pdf

We meet again @Vasilis Michael or should say: Mr. Schubert. ❤️ While it says it sonata, the overall does not follow what we think in that sense. That is why there is the clarification: binary. Binary implies AB. We must ask this follow up question; How did manage write a Binary sonata? Rather easily. Muzio Clemeti wrote plenty of these. However, what I am impressive this time is the dramatic pause after the TR zone that leads up MC. I did not expect to hear that in early classical sonata(binary) form. To me, that is something that Haydn or Mozart would do. As @Henry Ng Tsz Kiu noted this does sound like Scarlatti. But I am extended the olive branch further and saying Clemeti, too. Late barque and early classical sonatas are rare to hear. It is refreshing to hear.

Hello all! This is a piece I wrote for college. The first movement was performed, and I was supposed to have the rest performed before the end of the month, but unfortunately, the ensemble that would have played it got too busy. The piece is kind of in a similar vein as my first large scale work, the Seven Sorrow; a program piece based on a traditional Catholic devotion. The difference is, while no other composer had written a piece on the seven sorrows, there are composers who have written pieces about the stations of the cross (Liszt's "Via Crucis" comes to mind), though I approached it quite differently, I think. Rather than a movement for each station, I made it a 3-movement brass quintet where each movement represents several stations. The first 5 stations in movement 1, the next 4 in movement 2, and the final 5 in the finale. The stations are shown both in the score and in the video with pictures. The Stations of the Cross for Brass Quintet - YouTube Stations of the Cross.mp3 Stations_of_the_Cross_Full.pdf

This is really delightful; I wish you had included the score as well. I'm not familiar with this Hans Christian Anderson story, but you paint it very clearly.

You do an excellent job here of exploring interesting harmonic ideas and making each line its own interesting melody. I wonder how this would sound with some longer note values as either a pedal in the bass or a slowly ascending or descending line to break up the texture a bit? (This would get your text out of sync between parts and less easily understandable, so maybe that's not something you want to explore). If you have a minute, could you add the full text and translation to your original post to help us all keep track as we listen without needing to open an extra browser window of our own and toggle back and forth? This sounds great, and looks like it would be interesting to sing!

Cooked up a little metalesque number in honor of the Halloween season. Dead Man's Party .mp3

Hello @Lithl , Someone introduced to me George Crumb recently...he has this fun piece he wrote for his dogs. The best part is the end, where I guess I'm spoiling a bit, as he ends it with a spoken word - "bad dog!". There is another one called Echoes of Time and the River. His scores are beautiful and almost like a work of art themselves. He also uses the instruments in more unique ways. Not totally my cup of tea personally, but can definitely appreciate the genius behind his stuff. So there ya go, hopefully this is avant garde enough for ya :)

This is the 4th and last movement of my Clarinet Quintet in C minor, which is completed 4 years ago which I finish revising. Thx to my friend @Thatguy v2.0 for making the audio! Here is the score and video of the movement: (For YT)Clarinet Quintet in C minor 4th mov final 20260922.pdfClarinet Quintet in C minor 4th mov Final Version 20260922.mp3 https://youtu.be/r4Y7eVQdom8 It's finally the time to solve the problem after excavating deeply into the despair and sadness itself in the last movement. The despair motive is almost everywhere in the movement to show the struggle with it. The movement is basically under sonata form (or sonata rondo) structure with an extensive coda: 0:00 1st subject, Exposition. Despair [0134] theme combines with anapaestic (or dactylic?) rhythm behind to present the action to solve it. A sudden reflection with halt appears in 0:44. What is this despair? Eb major arrives the earliest in the whole piece of music in 1:10. 1:49 Transition. Begins in Ab major, the 1st theme enters in 2:06 cello but stop by a chase to Eb major in 2:25. First time to dissolve the despair with bare harmonies. 2:39 2nd subject, Exposition, in Eb major. Some struggle in 3:02 in c minor and reached its climax in 3:21 but dissolved (or ignored). Trying to achieve a more hopeful ending but ends in deceptive cadence in 3:47 with the scare of 1st subject theme. Eb major never achieves its perfect cadence here and go straight back to c minor in the development. 4:17 Development, 1st part. Most complicated part of the movement (it should be), 1st subject theme enters into each instrument individually like nothing happens(that's why it can be either sonata-rondo or sonata for the structure). The sudden halt reflection suddenly interrupts in 4:53(which will keep appearing in the development). Keeps modulating with sudden reflection (or rather because of the reflection) to finally reaches e minor passionately for the 1st climax of the development. 5:28 Development, 2nd part. The emotion gets complicated as 5 part counterpoint is achieved here. I initially was in doubt of the counterpoint here during revision since the sound is so confusing and muddled but I think it's a good way to represent the confusion of mind here so I retained it. Certainly I don't have the ability of Mozart here haha. It cools down to b minor with 2nd subject theme singing, ending in German sixth chord which gives hint to C major/minor as V7 of it. But it instead it enter F sharp minor. 6:23 Development, 3rd part. The use of F sharp minor here is to reiterate the polarity of C/Gb which is established right in the 1st movement (I also use it in my Sextet). Another climax in 6:42 using transition theme. Falls to aura of despair in the opposite pole in 7:17. But only when you fully admit and immerse yourself in despair hope appears, as it magically turns into Eb major with the ultimate climax. The hope theme shines completely in 7:50 and in 8:11 even the despair motive appears hopefully in the clarinet! It ends in a calm pentatonic aura but it proves itself short lived as it cools down instantly. 8:23 Development, last part and retransition. It falls again to the weak Ab major and ends in a long reflection in 8:45. I think it's anti-climatic to allow unmoving passages in a development but I do it as preparation to what comes after it and a preparation of the coda. Sadness deeply felt and rebounds in agitation, as rhythms from all previous movements appear in 9:38 and in 10:00 the outburst of despair motive is played in unison. 10:13 Recap, 1st subject and transition. Themes recapped and reordered in a much more agitated manner than the exposition. I definitely learn from Mozart's G minor Quintet for the texture here. Transition in 10:54 as 1st subject greatly shortened. 11:38 Recap, 2nd subject. Time to enjoy the moving sadness by despair theme here. Try to grasp hope but despair seems fully taking control... 13:28 Coda, 1st part. My fav. theme in 1st mov quoted here: do I have to end in this way after all these struggles?? Are they futile at all?? I sink myself and dissolve myself into harmonies only after all the counterpoints before. Yeah! Despair may not be solved but it can be dissolved! To acquire it isn't to have hope defeat despair, but rather embrace despair and carry its heavy weight on your shoulder and still maintain that the world is hopeful. 14:40 Coda, 2nd part. By no means I am merely copying Beethoven's op.135 3rd mov (my all time fav mov) note by note here: the Eb-D-C-Bb motive there is the perfect solution to the despair motive in this entire piece. But just like Beethoven's op.131 or Kant's Critique of Pure Reason, what's happen next is not the issue here, so the ending is somewhat unfinished, and what's left undone would be further developed as in 16:00 the melody begins my 2nd Clarinet Quintet in E flat major. Feel free to criticize the movement here! A more complete narrative of the whole piece will be put in the video featuring the whole piece instead of here. Thank you if you follow the whole piece of music and read the long descriptions here! Henry P.S. Here are the posts of previous movements of the same Quintet: 1st Mov: 2nd Mov: 3rd Mov: The passage in Mozart's String Quintet in G minor: The slow movement of Beethoven's op.135 Quartet:

Hi @Henry Ng Tsz Kiu ! Congratulations on finally finishing this revision of your Clarinet Quintet! I'm glad that you are now able to move on to other projects! I don't know if anyone has mentioned this yet - I think you did say something about someone mentioning that parts of this reminded them of Brahms? For me the pickups to mm. 63 reminds me of Brahms Clarinet Sonata No. 2 2nd movement - Allegro Appassionato. Especially the b2 Neapolitan inflections in the Clarinet melody there really remind me of Brahms. I guess you have the 2nd part of the Development without a key signature because it's so modulatory? I like the canonic imitation in mm. 359! I also enjoyed the simultaneous diminution/augmentation of the motivic material in the last part of the Development! I love that slow theme you brought back in the 2nd part of the Coda! Great job - thanks for sharing!

Again, the first sentence of the clarinet is great, and the next time the same phrase is played by the strings is nice too. I don't know why, but when I listen to your clarinet works, I can't help but imagine a raw recording. It is natural to do so. The dialogue between instruments is also very well structured, making it quite difficult to fully grasp in just one listening. I think it is wonderful how so many different elements come together as one. The section starting around 14:44 is beautiful—I feel the vibe of "to the supreme". Also, the section around 8:35 sounds nice to me. The audio playback is nice too—great job, Mr. Vince! Henry, I appreciate your works! Well done! Best, Lithl.

Nice job on expanding your main motif, and excellent key changing throughout. Considering how long this movement is, the piece does a really nice job in keeping the listener's attention I think. About halfway through, you then change the pace but quickly get back on track. The harmony throughout is good, with sprinkles of pentatonic. Also, the last 2 minutes are very cool in how you conclude the piece. I like the change of pace here, with the slower, calm ending. Much of this movement is is quite steady / consistent, and your transitions are seamless.