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Yes, Lontano, but really all of her albums are great. I was first taken in by her playing on the album Gurdjieff & Tsabropoulos: Chamber music.

Thank you, @Henry Ng Tsz Kiu, for your review :) Gothic scene, that's interesting. I've never thought about it. And your idea about the cello is nice—that's going to be a good one. Actually, I always intend to use extended techniques for string instruments, but I do not know how to play them in the DAW / software realistically. Is having someone play them the only way to get those extended techniques, after all? 😕 Anyway, thanks again, Henry! Best, Lithl.

Ok very interesting, because I see and hear 2 key signatures played against each other. But the different key signatures themselves are "in key". I suppose this naturally gives us 2 different harmonies without having to manage accidentals. Interesting concept, and at times this sounded a bit like Ravel. Fun rhythms, and for an exercise this sounds like it could be a nice little standalone piece, maybe a prelude, or some type of introduction to a larger work.

= Short Piece for Cello / Piano / Granular Synthesis = = Background One day, I thought of a cellist and a pianist performing over a backdrop of electronic noise, and this piece was created based on that idea. As the title suggests, the composition features cello, piano, and granular synthesis. The composition process began with creating the granular synthesis textures, followed by adding staccato cello notes and piano. I imagine a space that looks like a compact design. = Note I don't have a specific message I'm trying to convey with this music, but I would be happy if someone found it enjoyable. To be honest, I was reluctant for a while to upload this piece; I felt a bit hesitant about creating something annoying when everyone else is composing beautiful orchestral / chamber or keyboard-based works, haha. Still, I decided to take the plunge and upload it. As for the score, since I don't know how to notate it, I can't upload it now. I’d love to hear your impressions, criticism, and feedback. Again, I hope you find it interesting and enjoy it. = Music / Artwork: Lithl = Finally If you know any pieces that are similar to this piece of mine, please let me know. I'd appreciate it. Thank you for listening, and have a nice day :) Short Piece for Cello : Piano : Granular Synthesis.mp3

Hi, thank you for your feedback, @Brs. Your point about the cello's contribution is actually what I was concerned about. However, I followed my first idea and created a track. Next time, I plan to elaborate on it more. And above all, thank you for introducing me to Anja Lechner!! I really appreciate it and immediately loved it. Searching for it, the video features the album called Lontano from ECM by Anja Lechner, right? I'm listening to that, and it's such beautiful playing and a beautiful piece. Again, thank you so much :) Best, Lithl.

Thanks I will think how to modulate and cadence to next key Thanks for response :)

Thanks for the response I will definitely look into your examples :) (And the repetition I can remove it like not fit Right)

Hello @Martynas123, this prelude is really a pleasant, short piece. Although there is nothing wrong with a „simple piece“, I have some suggestions which could perhaps improve it somewhat further: The time signature. I don’t think that this piece is in 6/4 meter. Even though this time signature matches the number of notes played in a measure, there is no pulse that counts from 1 to 6 (with the exception of the last two bars). There are clearly four beats to be counted in the left hand. Therefore, the prelude should be in 4/4 meter, and the texture of the right hand could be rearranged into four groups of three notes each as triplets. With that done, you could get rid of the dotted quarter notes in the left hand (which look a bit unusual). Otherwise, you could recall the time signature as 12/8 (again with four groups of three notes in the right hand) retaining the dotted quarter notes in the left. And there is another „funny“ possibility that has been used by J.S. Bach in its Prelude 15 of the Welltempered Clavier, Book 1, BWV 860: Different time signatures in the right and left hand (admittedly very unusual but solving the problem): You could use 12/8 in the right hand (four groups of three eights notes) and 4/4 in the left hand. Here is the example from Bach’s prelude (he uses 24/16 in the right hand due to its use of semiquavers). The repetitions and the ending. At the ending (the two last measures), the piece leaves its uniform texture with the „triplets“, slowing down at (yes here) six beats per measure. I would like to have a somewhat „more elaborated“ finale, perhaps with the slow-down to a desceptive cadence, another one or two bars of improvisation with, again, the eights notes pulse, before the piece finally finishs. Typical examples of such an ending can be found in the Prelude 1, BWV 846: or somewhat more complicated in the Prelude 5, BWV 851: And now, finally, regarding the repeats: I generally wouldn’t include the ending—and especially not after an extension such as the one suggested above—in a repetition. Perhaps you could omit the repetition of the second part entirely—though that would result in a shorter piece.

Hi @Martynas123 , Is this one section of your D major Sonata? I ask because it’s more a G major piece to me. If it’s hard to continue you can for sure modulate to new keys. Easiest would be to modulate to D major by ending the first section in half cadence and then you can begin with new ideas. I actually really like the idea after 0:59, but like @Grant Weep said it gets really weird, to me because it doesn’t match with the style before it. Henry

Für Elise: played too frequently by people who don't know HOW to play it.