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I suppose my opinion is somewhat different than Markus Boyd's; which I will get to momentarily. I will say, the very beautiful music that we have going on felt, still, rather "flat" to me. There was little contrast throughout; at least during the first portions of the piece. I get there were moments when the music somewhat rose (achieved through slight crescendos). Otherwise, there was no "aha" moment, where something changed and grabbed my attention. No tempo change, no change in mood. No new visitation to various tonal/post-tonal keys. Nothing stood out to me. After listening to the first two or three minutes of it, I felt like I've heard the entire piece. Once more, it was beautiful music; and I certainly found it a lush relaxer. But, there was nothing "different" from start to end. Perhaps that's the style you were going for. There is absolutely a place in the music world for this kind of musical development; "one idea moving ('hastily') onto the next, without much chance of development". Background music is the primary example that definitely calls for this type of stylistic development. (As a far-branching sidenote (which, to clarify, speaks nothing to Markus Boyd's meaning here), I usually get this^^ feedback as a form of dismissive criticism; by people who superficially look at the music and then don't care to observe the potential deeper web of my"overly complicated" music. Usually, when I "defend" myself to say that my piece does in fact develop with themes that do come back, and that the form is there, I don't hear from them again. Have I proven my point regarding "dismissive"? Now, once more, I'm not saying that Marcus Boyd was being dismissive of Petr Kopuletý at all. In fact, I see the opposite: I appreciate that MB was being curiously inquisitive.) I like to kindly finish that history is on Petr Kopuletý's side on this: people didn't see the development in the "Rite of Spring" either. That famous Bassoon theme? It gets measly developed and revived at best; and then doesn't return at all for the rest of the Ballet Tone Poem. The Stravinsky chord moment? I don't remember hearing it again after that one jarring moment of its appearance. None of his music gets "developed" in the way critiques typically want it to: a theme that comes back and transforms. So, why do we love "Rite of Spring" so much, and why does it keep getting played again and again... and again...?

Y'all are so nice, thank you kindly. Sorry, the Tennessee gets ahold of me sometimes 😁 @Lithl Thanks for sharing some thoughts! I agree, this is definitely a bluesy in a bar feel, perhaps the rhythm could portray a drunken aloofness? You're very kind, but if I come across your new music and it blows me away... well, consider that badge an easy win for team Lithl :) @Seni-G Hey thanks for listening! I did put a lot of time into this one, especially with the flow and form of it. For either of you, I don't think I know your music, so send me something and I'll check it out, or I'll just look out for your name and share some thoughts :) P.S. @Henry Ng Tsz Kiu, Please don't remind me I'll never be able to receive the most prestigious award our forum has to give... it pains the most precious recesses in my soul 💋

@Vasilis Michael Your performance of this music really sparkles! You have such a nice touch. This is very nice music to play in the morning while taking the first sips of coffee. It’s like it was made to play in the background of quiet kitchen, with the sunlight peeking through the blinds. You obviously have tremendous skill as a composer and pianist. Your music (that I’ve heard so far) is delicate and sweet and sumptuous. Delicious! And yes I think I would love to hear a sonata from you. A sonata is an opportunity to write something that challenges the listener on an intellectual level. It requires that they follow you through your themes and developments, and gives you a chance to paint in many colors, to draw out your ideas and toy with them, to tell a long-form story. I’d love to see what you create in that arena. Very well done, a real joy to listen to.

@Fruit hunter I really enjoyed this work. Variation IV was especially exciting. You do an excellent job of managing the dramatic pacing throughout the piece, with your creative and varied use of rhythm. None of the variations overstay their welcome. They say their piece and allow the next one to take over. Taken as a whole, the piece paints a satisfying dramatic arc. My only concern is the playability of some areas. I would consider asking: is every instance of virtuosity required, or could you convey that same feeling without requiring virtuosity in that instance? I’m not saying it’s unplayable, but only that it looks very difficult, especially when fast passages resolve into thick chords, or when the bass accompaniment requires very fast tempo and precise rhythms. Lowering the virtuosity level (while maintaining the vibe you’re going for) will only increase the number of players who are capable of performing it. Not a requirement, just a consideration, coming from someone who loves to try and play new compositions, but is not himself a virtuoso pianist. But overall excellent work. I’d love to hear this performed live.

I definitely don't mind the comparison with your own music either, I actually find it interesting that you've received very similar feedback yourself. It makes me think that this is perhaps less a question of whether this approach is correct or incorrect, and more a question of how much space the listener needs in order to perceive the relationships between the ideas.

Hello, thank you for your detailed and lengthy comment, I really appreciate it. I can certainly see what you mean by the lack of a more obvious “aha” moment or a major change of tempo, mood, or musical language. It is intentional: I tend to think of development less in terms of large contrasting sections and more in terms of gradual transformation, interaction. So there may be development happening, but it is not always presented as a clearly perceptible change of scenery. In other words, my music often flows like water, sometimes swelling, sometimes receding, but never coming to a stop. That is actually very useful feedback for me, because there is a difference between something being internally connected and the listener actually being able to perceive that connection.

Hi all! I recently posted a Rondo, which was actually the third movement of this piano sonata. Here is the full sonata. I know that posting a whole sonata is asking a lot from listeners. Please feel free to listen to only one movement if you like, or the entire thing if you're in the mood to hear the entire arc of it. Whatever works best for you! I appreciate any and all feedback, even if you only listen to a portion. Here is a breakdown of the entire sonata: MOVEMENT 1: The 1st movement is in Sonata Form. Following along with the form may help you wrap your head around the various parts of the movement. The form your road map through the jungle. Section 1 - Exposition (measures 1-128): the piece starts with a main theme in the home key (C# minor), followed by a second main theme (measure 59) in the key of the relative major (E). Though you may hear many ideas that roll out one after another, the form of this first section is grounded by those two main themes. Section 2 - Development (measures 129-243): in this section the two main themes are deconstructed, developed, played around with, and intertwined with other ideas, all flowing together into a mixture, a river that carries the listener along. This section is doesn't stand on solid ground, but instead is ever-shifting. It's goal is motion, development, and play. Section 3 - Recapitulation (measures 244-end): the first main theme returns (244) but is changed now, followed by the second theme (370) which now appears in the home key (it is now minor). MOVEMENT 2: This music is a projection of my mind during the time when my first son was born, a reflection of my complicated emotions, my questions, my fear and love. The music fades in and out of coherency, at times directionless, until it finally lands on solid ground. It’s asking a question, and just as the answer comes within reach, it slips away again. This movement is tough to pin down, difficult to categorize. The music is searching, searching… It emerges slowly, pops in and out of view, like a distant ship in the mist. Sometimes it’s a love song, sometimes a lament, sometimes a hopeful look toward the future, and sometimes a lonely figure grasping for something in the dark. MOVEMENT 3: The 3rd movement is a Rondo, which resembles a club sandwich, where theme 1 is the bread: Theme 1 (measure 5) Theme 2 (41) Theme 1 again (69) Theme 3 (98) Theme 1 once more (195) Each time theme 1 returns, it comes with very slight variations. Since the first movement contains so much development and so any ideas, the third movement keeps the main theme mostly intact throughout. The third movement may be a bit too tightly wound, but I made it that way because the first movement feels a bit like an over-stuffed burrito. Thanks so much for listening! 1. Allegro con brio.mp3 2. Largo (Jack's Song).mp3 3. Rondo.mp3 01 Allegro con brio.pdf 02 Jack's Song.pdf 03 Rondo.pdf

Oh! You know, I actually had this similar conversation with yet another inquisitive board member; who too felt that my music could have taken a little more breathing room to develop my themes a little better. My only counter-response here is that I'm really not doing anything in this regard that Stravinsky himself hadn't already done! And, I'm sorry to be clinging to him pathetically as if "Rite" was some be-all-end-all approval post, but it does seem very fitting in this conversation.

I agree with @Lithl that this is a piece that would really excel if performed in a noisy and crowded bar! It feels improvisational, and yet has very noticeable form. Clearly you put a lot of thought into this. The combo of improvisational sounds mixed with a crisp form and clearly thought-out main theme all combines to make this music really pop! I’m excited to check out the other preludes. Nice work!

I didn’t express myself very clearly, I’m sorry. It’s not that I don’t want to, but for one thing, it would take quite a long time, because the development of my compositional language hasn’t exactly been straightforward, and my musical expression draws on many different influences. I also think I’m not very good at putting these things into words. I can tell you what other people have said, though. I often hear that when they listen to my music repeatedly, something suddenly clicks for them. My friends, who have been with me since the very beginning, might actually be able to explain it better. After all, I’m not an outside observer of my own music, so it’s difficult for me to see it from the listener’s perspective.

Thanks for the reply. Well, I was only curious to understand how you make your art. But it doesn’t sound like you’re willing to share…

Hi, thanks for your comment. You’re right that in some situations it might be helpful to include the sheet music, but I’m not really used to doing that, I usually don’t. However, I’ll consider it, as several people have asked me about it. As for the form, it’s actually quite a specific aspect of my compositions. It can be difficult to pick up on at first, but it is there and plays an important role, even if it isn’t immediately apparent on a first listen.

Apart from you there's always one guy who can never get "Better than Thatguy" badge: @Thatguy v2.0 himself lol!

Hello @Thatguy v2.0! I enjoyed this piece! It has a kind of blues atmosphere. Playing in a bar with some drinks, people-watching, and having fun. I especially like the 0:46 section and the one starting from 1:42; this piece is intriguing. Since this is so well composed, I feel like I will probably never be able to get the "Better Than Thatguy" badge, haha! Thank you for sharing! Best, Lithl.