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@Lithl My dear friend, I truly don’t know how else to thank you. Your appreciation, both for me as a person and for my music, genuinely makes me very happy. I’m so glad that you enjoyed this sonata as well, and it means a great deal to me that you took the time to listen to it and share your thoughts. As for my dear friend @Henry Ng Tsz Kiu , I have had the pleasure of considering him a friend for quite some time now. Even though we are separated by distance, we are in touch almost every day and we often talk about music. Above all, there is a deep mutual respect between us, as well as a genuine love for music. Lately, we have been talking quite a lot about Scarlatti. Henry not only loves Scarlatti, but also listens to and performs his music. Since I also have a deep love for Scarlatti, especially his binary sonatas, this shared passion for his music has brought us even closer. And so, I felt the need to dedicate one of my own binary sonatas to him. I’m truly very happy and touched that I had the opportunity to do so.

= 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

Hello I’ve had to listen to this track three times in a row – it’s very short, so it’s easy to do. There’s one reason for this: I’m really fascinated by what you’ve done here. I think this sort of music is just as valid as any other. I’d love to know a bit about how you created that ‘granular synthesis’ – whether it’s with software or something else. I sometimes think about using electronic elements in my own work, but I’m not quite sure how to go about it (as I rely 100 per cent on virtual instrument libraries). To me, that synthetic texture really reminds me of ‘flocks of birds’. It really does have several layers of sounds that are like the caws of different species of birds. This reminds me directly of pieces like Vox Balanae (Voice of the Whale) by George Crumb. https://www.youtube.com/watch?v=sutSUIBp-VY&list=RDsutSUIBp-VY&start_radio=1 As well as looking at the score, which is very, very complex (typical of Crumb), it is fascinating to watch the performance, as there are instructions on how the musicians should appear (masks) and in what position. performance

Fair caution here. It promotes a modified Spotify app, which is not official and breaks Spotify terms. Sideloaded builds can also hide malware, so the risk is not just legal. If you compare such builds, this music APK roundup may help. I would stick to the official free app or a Premium trial.

I say this is an interesting piece, though each movement in my view kind of ended a little abruptly. I just say it's also because the lines kept moving, and there's kind of little room for some of the strings to stop for a break, and let the other strings shine. But I like the contrapuntal texture and the rather mysterious melodies overall. I think the last movement here really has a clearer direction on what you want to go for, and ends most beautifully.

Was kinda looking around for inspirations for slow movements, and this piece is quite astounding. To tell the truth, I actually felt this is closer to Debussy than Chopin, although Chopin's romanticism is quite deeply reflected here (particularly with the more detailed scalic and chromatic ornamentation whenever the main melodies return). Why I felt as such is because of the extensive use of modes, which is a bit more characteristic of impressionist music. And also plenty of hemiolas, although ofc that's also seen in plenty of romantic music.

Hey @Wieland Handke that was really excellent. I found the music intellectually challenging, so I gave it a couple listens. This music has a great flow, but is also mentally stimulating, just like Bach. I didn’t read your introduction first, and while listening I kept thinking “this sounds like a modern Bach chorale”. Glad to find out I heard what you heard! You speak the language of modern harmony, but here you speak it with a baroque accent. It works well. There’s just something about jazzy chords that gels so well with baroque rhythm/voicing. Makes me want to hear more of your work. One idea: it would be fun to hear this with four instruments rather than one. For example, I think this piece could actually be turned into a chorale! Have you ever considered setting this to a poem? I bet a choral rendition of this would slay. There is tons of fun material for 4 singers to play with. Or a string quartet could be nice. Assigning each voice to a separate instrument could really free up those voices, and allow them to shine in a way entirely different than what can be achieved on keyboard. Nothing wrong with a baroque style keyboard work! Even if you decide not to try it with a quartet, it’s still delightful. Nice work!

Thank you guys for all the feedback!

I really enjoyed this. Yes, in the broadest sense I got an immediate Scarlatti vibe, but your unique voice is dominant. I think of binary pieces as more limited, but you developed this nicely. The mood changes were really well done. You moved between keys and motives quickly without it ever sound schizophrenic. It's exuberant music, with a clear drive and direction. I never felt lost even when I didn't know what was coming next. Thanks for sharing.

Ah, I wish I were Henry... You are a lucky man, @Henry Ng Tsz Kiu, to have such a nice friend who composed music dedicated to you and your musical talent! As for the music itself, I don't even need to say anything because your music always sounds so high-level and lovely. I want to see you play your pieces in the future. Great, thank you for sharing, Vasilis! Best, Lithl.

Hi @Vonias! This piece is creative, with great sound design. Is that the sound of thunder or blowing wind? I think if you bring the bass drum closer to us and make it stronger, it would work. It is well panned and the concept of the church bell is also interesting. Sounds really good, well done, thanks for sharing. I liked this piece! Best, Lithl.

[UPDATED - OCT. 2026] The following post was a formal submission for the 2026 Summer Competition: From Nothing, to Something. Below includes a detailed and extensive explanation of the work, both in inspiration and construction. If you wish to skip, the score PDF and Audio will be found at the end. Thanks for viewing this work! [TAKEN FROM SCORE] Plus belle encor votre chère beauté  - Your dear beauty lovelier still Duration: c. 6:08 Written in 2026, Plus belle encor votre chère beauté is a work for piano quartet that evokes summer and the experience of love. It was composed for the “2026 Summer Competition” hosted by The Young Composers Music Forum and is inspired by Paul Verlaine’s poem “Donc, ce sera par un clair jour d’été,” whose opening line may be translated as: “So, on a bright summer day it shall be.” The poem is number nineteen in Verlaine’s collection La Bonne Chanson (The Good Song) Find the French text and translation to the poem here The title of this work is drawn directly from the French text and has similar inspiration as the Gabriel Fauré song from his op. 61 bearing the same name as the Verlaine poem. However, this work takes the title from the fourth line of text, and unlike Fauré, this work is late-romantic in style. The musical inspiration came from two places: Tchaikovsky and his Nutcracker ballet, and a spell of improvisation at the piano. This work was created in late July and early August 2026, and during that time, I was experimenting with modal improvisation, and felt drawn to G-lydian. Specifically, the iv 7 chord you can build and find in Tchaikovsky’s music. However, I did not set the piece into the lydian mode, only hinting at C# to use for predominant and secondary function. It was also around this time I was listening to parts of the Nutcracker, where I felt drawn to the idea of harp-writing, and thus, during a period of improvisation, the foundation of this work came to be. With structure, Plus belle encor votre chère beauté is in ternary (A-B-A’) form and includes an intro and coda. The B-section acts as our development while the outer A-sections are comprised of a smaller AABA form. The principal theme stated in the A-section occurs throughout the work, where it can be heard in the introduction, coda and within the development where the piano states the principal theme in inversion. Lastly, I composed this work following the end of a relationship. In short, this work evokes those unspoken emotions I harbored and the romance I long to have one day. A day where I too can say “Your dear beauty.” (The art on the cover page is Claude Monet's "Woman with a Parasol." A wonderful piece of art!) Comments are welcome, both constructive or positive! If you enjoyed this work, leave a react, and follow my page so you don't miss any new works in the future. It's free and you can always remove it later. Thanks and see you all soon! AUDIO_YourDearBeauty.mp3 SCORE_YourDearBeauty.pdf

Thanks to all 9 participants who submitted music to the competition - the recipients of the "Alchemist Award"! Summer's Day by @Kvothe On Pastel Skies by @Fruit hunter Plus belle encor votre chère beauté by @MK_Piano Your dear beauty lovelier still by @Musicman_3254 Summer – A Song of Beauty and Melancholy by @Wieland Handke Saxophone Quartet no. 2 - Un clair jour d'été by @Ninja Nolan So on a bright Summer Day by @Matthew M Donc, ce sera par un clair jour d'été by @latebeethoven_addict Donc, ce sera par un clair jour d'été by @JDevorMusic The members have voted!!! And the winners are ... --==<< Decisive Fanfare >>==-- For winning the "Spirit of Verlaine" Award for the best depiction of Verlaine's poem and the most imaginative transformation of the text into music: with 5 votes, Saxophone Quartet no. 2 - Un clair jour d'été by @Ninja Nolan !!! Congratulations!For winning the "Poème d'Amour" Award for the piece that best captured the sensation of love: with 6 votes, Plus belle encor votre chère beauté by @MK_Piano !!! Congratulations! For winning the "Évocation" Award for the piece that best captured the sensation of summer: with 3 votes, Your dear beauty lovelier still by @Musicman_3254 !!! Congratulations! For winning 3rd place overall with 9 points - We have a tie!!! On Pastel Skies by @Fruit hunter and Summer – A Song of Beauty and Melancholy by @Wieland Handke will both receive the following trophy: For winning 2nd place overall with 16 points - Plus belle encor votre chère beauté by @MK_Piano will receive the following trophy: For winning 1st place overall with 17 points - Saxophone Quartet no. 2 - Un clair jour d'été by @Ninja Nolan will receive the following trophy: Congratulations to all the winners!!! We will now move your pieces to the "Competition Hall of Fame" sub-forum! And thanks to all the following participants who also reviewed all the entries! The contest would not have been as much fun and as instructional as it was without you! The following members will receive the "Heavyweight Reviewer" badge for reviewing 100% of the entries (9) submitted to the competition!@Kvothe @Fruit hunter @Henry Ng Tsz Kiu @chopin @Wieland Handke @Thatguy v2.0 @PeterthePapercomPoser @JDevorMusic And the following members will receive the "Welterweight Reviewer" badge for reviewing 66% of the entries (6) submitted to the competition!@MK_Piano And the following members will receive the "Featherweight Reviewer" badge for reviewing 33% of the entries (3) submitted to the competition!@Luis Hernández @TristanTheTristan @MJFOBOE Thank you to all 12 Ardent Reviewers who reviewed the contest entries! Once again - great reviewing turnout! We had more reviewers than composers in the competition! And thanks for me @PeterthePapercomPoser for organizing and managing all the competition polls, announcements, submission thread, badges, results, satisfaction survey and advertising outreach! I will receive the "Community Organizer" badge! To take the "From Nothing, to Something" Satisfaction Survey go here: To listen to all the entries go to the submission thread: To see the Popular Voting Polls go here: To go to the competition announcement go here:

Hey all, This is the current iteration of the second movement. Eager to hear people's views so far on this... whether it works. The bit I am currently working on is intended to be a fugata, in the spirit of Beethoven's own in his Erocia, second movement (which I love). I am using that as a model. Never done that before and it's certainly a challenge. I haven't finished the wind writing which will have two parts for each instrument except for solo areas (i.e. the beginning). I wouldn’t bother looking for errors as it’s still a work in progress. There is still much to refine. It would just be helpful to just gauge how the ideas come together while i’m immersed in the rabbit hole! 🤣 Symphony in A (Second movement Draft).mp3 Symphony in A (Second movement Draft).pdf

Hi! I am continuing my revision on my old work. This is the 2nd movement of my Clarinet Quintet in C minor, which is completed 4 years ago and I'm revising it. Thx to my friend @Thatguy v2.0 for making the audio! To me this is probably the worst movement in the piece, but only because it's the most one dimensional one: After the discovery of despair in the 1st movement, I started to fall into confusion and craziness of despair. Ironically this movement is written in a neat Sonata form with the structure presented below: 0:00 First subject, exposition. Start right from the despair Eb-D-C-B motive in quick Scherzo time to represent the fury and confusion of despair. Clarinet joins in 0:31, still playing at the despair motive, and in 0:33 the whirling figure using despair motive signifying the confusion is introduced. 1:27 Transition, exposition. I like this pizz. theme myself for how sarcastic it is. 2:34 Second subject, exposition. In F minor. A more "reasonable" theme finally with major keys visited, although finally succumbed to the confusing despair. I always go to F minor instead of G minor for the secondary key of a C minor movement for its darkness. 3:46 Development. Continue with the confusion by quickly modulating to different keys. I really love the 3:59 passage with a Brahmsian turn to a German sixth chord in 4:09! The fury ends with a "transcended" sadness in Neapolitan C# minor in 5:20 with a clarinet solo, but sarcastically laughed off by pizzicato strings in another Brahmsian German sixth. 5:49 First subject, recapitulation. Excitement reduced after a suffocating development. In 6:02 obviously I learn from Beethoven's 5th for that famous solo oboe passage. I love how fierce it is in 6:38. 6:47 Transition, recapitulation. Shorter than exposition's transition. I hate exact repetitions. 7:25 Second subject, recapitulation. Same as the one in exposition except in tonic key. Notice how relative major Eb major is finally used with some emphasis for the very first time in the piece, as the confrontation of B flat carried by E flat major and B natural by C minor of the despair motive would be the main battlefield later on. 8:38 Coda. One last cry and I am exhausted by the despair, thus ends the movement in tired pizzicato chords. Only with this exhaustion do I have the motivation to excavate the true reason behind the despair, which would be the main theme for the 3rd movement. Here is the score and youtube video of the movement : (For YT)Clarinet Quintet in C minor 2nd mov Final Version 20260707.pdf Harmonically I deliberately play with chord progression of augmented triad keys to reinforce that particular chord both horizontally and vertically, as well as resonating with the despair motive. Hope you enjoy this one and offer some critique to the movement! P.S. This is the 1st movement of the remastered version of the work: Henry Clarinet Quintet in C minor 2nd mov Final.mp3

How's it happening, YoungComposers community, Would you all like to casually take note of all the potential historic inaccuracies of this suite's movement? 😁 (I have two.) edit - Just to clarify, my inquiry above was tongue-in-cheek; it's not ALL I was looking for in this piece's discussion. You can make any kinds of comments, suggestions, constructive criticism and any such responses as you feel you like to contribute. Jubilant Hall for the Dance of the Giants (composition) - Sonata in G for Alto Piano Trio - Movement I - Evening's Entrance.mp3 3-movement Alto Piano Trio Suite in G - Jubilant Hall for the Dance of the Giants - Movement I - Evening's Entrance (Sonata-Allegro).pdf

Ok, since I did not post very well last time I am re-posting this. I made some changes to the piece and mp3 and am going to post the inspiration for this piece here: This is a piece adapted from my piano composition. I thought it needed more harmonies and motifs. It is inspired by any beloved person who lived a full life and died, and how others reflect on that life, sometimes with complex grief, sometimes with euphoric joy and hope. I picture the intro and coda as the sadness of the death, and the middle section as the whole of their life, mostly the good parts mixed with the bad memories, and the complexities of the grief people feel. Basically, it is the emotions in the life of a person and the emotions the grievers have when reflecting on the life. Woodwind Quartet.mp3 A Life Lived Woodwind Quartet Original Piece.pdf