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Good evening again, dear friends. Although I have posted all the movements of the sonata separately, here I am sharing the entire sonata, where you can listen to all the movements one after the other for a better experience and appreciation of the work. It may not be something innovative, but it is the musical language that expresses me, and that musical language is classical pre-romantic. I hope you enjoy it. Thank you once again.

not sure if I can meet the deadline, I guess I might be able to share a part of a multisection comp

Happy Winterval to all! This is a work I posted previously in the incomplete section, and it takes the form of a mini-concerto for violin (with the movements indicated by the rehearsal marks). It's more or less finished now; though I may still have to tweak some of the voice leading, and haven't started writing in the slurs yet. Since I last posted it, have added a coda at the end, and a whole bunch of counterpoint throughout the piece. (N.B. Rehearsal mark C indicates the start of the coda.) The work was inspired by Vivaldi, along with a modern work called "The Gold Standard" by Richard Harvey. (The latter was the main inspiration for the coda.) Think the most successful melody-line is in the second movement, as this carries emotional weight for me. The other two movements are more like baroque dance music. (I could imagine the cast of "Bridgerton" dancing to them at a ball!) I may have to cut the work down, as we're not really supposed to go over 5 minutes, and I'm now at 6. So any suggestions about where I could cut would be very helpful. Not quite sure the structure is properly balanced at the moment, or whether the movements gel together as a coherent whole? Any suggestions on what to name the piece also welcome. N.B. The dynamics and articulation are intended for midi rendition, and will have to be adjusted before I send it to the orchestra who are performing it next year.

I am in 🙂

ill join.

Then you can take some of your time to review my works! They all have scores haha. Henry

i’m hoping to participate, itll be a long shot finishing everything up and recording it in time but yeah

After undergoing plenty of struggle to find a proper textual setting capable of matching the rhythmic patterns of this vocal fugue, I decided to settle for an altered version of the "Libera me" movement commonly found on Requiem masses. Despite the minor changes required for the text to fit the subject of the fugue, its treatment throughout has been a conscious attempt to make it as audibly intelligible as possible, as opposed to the vast majority of my previous vocal works, where any regard for the text was completely secondary to the music. YouTube video link:

I would enjoy to participate in this event, too. I hope that I can accomplish my contribution within the next two weeks. Looking forward for listening and reviewing the contributions of other participants

hello peter, I am interested in joining as well

“ The calm before the storm, the feeling of eating gas station sushi except instead of intestinal problems it’s your ears getting that treatment. Sonic diarrhea is a seven minute work consisting of random noises, groovy melodies, and the sonic equivalent of having a horrible stomach ache… it’s great for the performers too. They get to have a little bit of fun. Structure: this is treated like a Rondo if you may, (ABACA) we have the sonic diarrhea theme (A) , a calmer theme (B) and a very jazzy theme unexpectedly (c). Enjoy!”

yeah :D

I'll give it a shot

🎄🌲🎄🌲---=== It's time for our annual Christmas Music Event!!! ===--- 🎄🌲🎄🌲 It's that season of the year again and time to write music in your adored wintry (or summery for those in the southern hemisphere), Christmas-y, Hanukkah-y, or Kwanzaa-y style! The only rule is that this is not a competition!!! So please review the pieces casually, only using the competition reviewing template on those who have expressed a desire/interest in having their music reviewed in this way! 🎅 In this event - anything goes! Submit music in the spirit of the holiday season of any duration or instrumentation! There will be badges given out for all the participants, of course! We will also give out "Ardent Reviewer" badges for those who take it upon themselves to review all the participants' music! This thread will double as the submissions thread as well as the event announcement. Please post only links to your music posted elsewhere in the forum (so that it may be properly reviewed in its own dedicated topic). The following members have thus far expressed interest in participating: @PeterthePapercomPoser @Monarcheon @TristanTheTristan @AngelCityOutlaw @PCC @Crescent Roulade @Mooravioli @Wieland Handke @gaspard @therealAJGS @Vavrinec @Vonias The event opens on Black Friday, right after Thanksgiving! And closes on December 31st! Excited to see what we all come up with this year!

Here's my submission, all finished and complete:

Thank you my dear Kvothe As i said to Henry, “Yes, this sonata was modeled after Schubert, and yes, it is classical-romantic both in terms of structure and harmony. I’m incredibly happy that the final result is what it is. As for the next step, I don’t know. For now, I’m writing what expresses me — something classical to early romantic in style.” Thanks again for your apreciation and your attention

A piano piece I wrote called Lazy Day. I think I could've elaborated more in some sections but overall fits the theme of the song 😄 Looking for feedback on the piano score as I know notation is not my strong suite. Thanks in advance & hope you enjoyed listening! Lazy Day Score.pdf

So the big news today is that Netflix will acquire Warner Bros. and will now own all sorts of IP including Lord of The Rings, Harry Potter, Mortal Kombat, Batman and so much more. Immediately, they wasted no time at all announcing "shortened theatrical release windows". In essence, they are aiming to kill movie theaters entirely. https://www.cbc.ca/news/entertainment/us-netflix-warner-bros-acquisition-9.7004170 This is going to put a tremendous amount of people out of work and lower wages across the industry just so that Netflix can increase subscriptions (and no doubt jack up the price further). Why is this bad for you, as a composer? Well, the TV and Film industries remain the most lucrative path for composers between not only composer fees, but longtail royalty payments. Even mid-tier indie films have the potential to pull in millions of dollars in revenue against tiny budgets at theaters. For example, at a film festival I recently attended, some of the films that had been short films in prior years went on to become multi-million dollar projects. Simply put: Streaming means smaller budgets and as an individual film is no longer a product unto itself, especially not if you can only stream it on one service and not "rent" it like on Amazon Prime, the "profitability" of that film is essentially zero dollars now. Because everything is consolidated under one subscriber base. Even with hundreds of millions of subscribers, there is no way that this fixed income can be redistributed to fund anything resembling quality content in any sufficient amount. That means lower pay, lower budgets, and even less room for risks and originality than what Hollywood is already starved of. Regardless of what you think of him, now would be the time for the orange man to do something about these growing monopolies, but what he'll probably just do is more tariffs. Personally, I think this move is going to be a big, possibly final nail in the coffin of the American movie industry. The earning potential for everyone down to production assistants is going to plummet in the American movie industry, and I think you'll see all these people turning towards European and Asian markets. There will be even more creative brain-drain on North America than there already is. Curious to know what you think about this?

On the 4th movement: Ronodo-Sonata? As henry mentioned, and I agree with him, the character and mood fits within the classical period sonata. It is light and humorous. What makes more interesting is the modulations. We are not moving to direct close keys by 5ths. No. We are moving chromatically; and possibly enharmonically to keys that are futher away! This was the trademark of romantic period. The romantics wanted to push the bounds of tonality. Even Wanger obscure it, which opens to the door to 20th century. The next step: maybe look into romantic style. Rolen wrote about this. 🙂

Thanks Henry! That upwards leap in b.58 is definitely a cry of anguish for me. Glad you liked it! I was actually considering dropping the whole first movement: so great minds think alike! I agree it's the weakest of the three, perhaps because it's too pastiche, and also feels like it's treading water in the middle section. Since Vivaldi was a major inspiration, I was trying to evoke his violin concertI in my style of composition. For example the repeated notes in the third movement coda are typical of his music, and help to inject extra impetus and energy.

Hi @Alex Weidmann! About this I have a crazy suggestion. Maybe you can just cut out the whole first movement and leave the last 2 movements as a pair, because for me those 2 are better movements, while in baroque style they have modern touches. 1st movement also has its modern touches but is more traditional. Or just keep some passages of 1st movement as introduction, then enters the 2nd and 3rd movement in full. I do feel the emotional weight in 2nd movement and I like moments in b.58 when the soloist really sings. I also like the driving rhythm in both 1st and 3rd movements. Thx for sharing! Henry

I don't say blah blah blah.pdf nocturne in c sharp minor. op.13.mp3 composed this in around an hour, I'm actually quite proud of this for the time I put in it. thought I do feel like it's a bit too similer for comfert to chopin's nocturn in c# minor

Hi @Wieland Handke! It’s nice to see all those D major passages run into my favourite C sharp minor haha. Nice counterpoint, just beware that some C natural should be B sharp instead. Henry

I am back with yet another Muzoracle casting! This time Celery asked me when she will find true love. The whole casting ended up pertaining to her past so perhaps she may have already found it! (Muzoracle is a storytelling/fortune telling/divination tool similar to the Tarot card deck, but with cards with musical concepts and 12-sided Musician's dice and Solfege dice. Perhaps it may be thought of as a special musical Oracle card deck.) My interpretation of the cards and dice are displayed below. Since castings in the key of F are associated with the Heart Chakra, they accord with the emotional suit of Strings, so I decided to include a Violin and Cello, since Celery also used to play Violin as a kid. Then, in the 2nd position we drew a Perfect 5th of Voices card, so I included prominent open 5th's in the piece and a Soprano singing Celery's question "When will I find true love?" as lyrics. If you'd like to find out more about Muzoracle and how castings are interpreted go here: https://muzoracle.net/ This short musical interpretation of Celery's Casting is about ~1:15 long. Since the black 12-sided Musician's Die landed on F, the piece is in the key of F major. I created the following melodic/harmonic underdrawing guided by the cards and dice. The first solfege die landed on Le, and the second on Ti with a Perfect 5th card in that position allowing me to use the tones Db, E and B natural. In order to smoothly connect to the tonic chord of F major I included the first two positions transposed down a half-step allowing me access to C, Bb, and Eb. The Tuning card gave me the idea of changing the tuning of the piece microtonally. So I decided to bring the tonic chord down a quarter-step momentarily. But all the tones were brought down by a quarter-step, so the intervals used were still your basic 12TET intervals. In order to extend the piece I also transposed the whole pattern up a half step to F# before concluding on a regular F major chord. Also, since I extended the number of positions in the casting to a total of 5 I decided to use 5/8 for the meter of the piece. If you've gotten this far, thanks for reading! And I hope you enjoy listening to this short vocal chamber work I wrote to represent Celery's Casting. Comments, critiques, suggestions, or observations are of course, always welcome. Thanks for listening!

Hi Peter! With the strong slurs and the microtone it makes me imagine Celery chasing a ghostly love lol! It’s effective but sounds more like the love in the film Ghost even tho there’s “Oh My Love My Darling” there lol. Thx for sharing! Henry

Hi! I'm looking for any feedback on a string quartet that I composed so that I can make some refinements before entering it in a few competitions. Thanks!

Hi @Vasilis Michael! Just on the fourth movement it’s funny and full of great modulations, and the mood is light just like many Classical sonatas. On the whole sonata, I think it’s more like an early Romantic sonata with all those more advanced modulations. But whatever style, I like this one. Maybe the next step would be to start finding newer voices! Thx for sharing! Henry

Why hello @Vasilis Michael I rather speechless here! This sonata is truly showcases the classical style. MVT 1: Sonta I did not expect the PT to return after the transition and musical pause (MC). That is a lovely twist on traditional form. I also enjoyed how you connected the repeat of PT to ST then to closing section. Everything flows so nicely. The 16th notes run reminds me of Mozart! Even your themes, do. They are so simple and effective. MVT2: Ronodo This reminds, in a way, either one of Beethoven rondos or Mozart's. I just do not know which one. I enjoy simple chorale, homophonic texture and how they slowly evolve thorough out the movement. MVT3: Minuet and trio This well written minuet with a trio. Great work.

This one is a little bit minor, little bit dorian, kept it on the simpler side. 😄 I hope you enjoy, and as always all comments and thoughts are welcome! EDIT: Added Henry's performance... thanks Henry!!

Thank you, I'm glad you enjoyed it! Also, added some wonderful playing by Henry 😄

Dear friend, thank you so much for taking the time to comment on my sonata, and thank you as well for your appreciation and for liking it so much. It was my greatest challenge so far to write a large classical sonata, and I’m incredibly happy that I managed to do it — and most importantly, that people who have heard it enjoyed it. The truth is, when I compose I don’t really think much about which modulations I’ll use; the nature of the piece and the themes themselves somehow guide you, helping everything flow naturally. It’s something truly inexplicable and magical. I worked quite a lot on all the movements, and I’m extremely fond of the minuet and trio — especially the trio, which I believe is, both technically and musically, the best thing I’ve ever written. It’s as if an invisible musical force helped me create it the way I did. At the moment I’m taking a long break from composing because I had become a bit exhausted, and I need some time to recharge before starting up again. Of course, it’s also a matter of limited time. The programm I use for the score is dorico 5 elements. I'm still learning it . Is very user friendly I recommend it. As for a piano concerto, I would love to write one — it would be a dream. It’s my favorite genre. I haven’t planned to start one yet, but maybe I’ll attempt it in the future. Once again, thank you for your kind words.

inspired by Adrian Von Ziegler check him out my fav Celtic artist

That’s true with the first clarinet part there’s sometimes where it gets very high. If I remembered correctly, I added some optional lower octave material just in case if that gets too much for them.

And I thought those low D-sharps on the basses were far too excessive! I couldn't even bring myself to sing below a very awkward-sounding E despite technically being a baritone. I wonder how potent of a voice a deep bass singer must have for such a B-flat to be remotely audible as pitch instead of pure vibration. To me, such extended ranges seem far more extreme than the usual alto-contralto range, which I believed is usually cited to reach down to an F below the staff. In any case, the concern is understandable. This fugue was originally set for D minor, as much of a nod to Mozart's heavy association of death with this particular key as a matter of convenience in order to adhere to the standard ranges for vocal music, which as we know often tend to require more conservative estimates in choral settings. Unfortunately the digital choir soundbanks I'm using struggled far more just a semitone above in certain passages, with certain octave leaps in the tenor part sounding especially screechy, so in the end I was forced to choose the lesser flaw and thus had to resort to lowering the whole piece to its current key. I hesitate to even call it a double fugue, as what might appear as the 2nd subject is in fact merely derived from the first, and I certainly would not dare label it a triple fugue, despite the relatively minor changes undergone by the subject that would normally not be explained by a conventional tonal answer. The stretto treatment is undergone first by what could be considered the 2nd subject following its own development section, and only then does the stretto for the original subject come about, thus helping cement an overarching ABA' superstructure that unifies the piece as a whole beyond mere exposition, development, stretti and codae in cycling motion. As for the Christmas Music Event, perhaps I might be able to submit a proper piece before the deadline. As of lately I've been considering a 5-part motet rendering of "O Magnum Mysterium", though I may consider other related texts to the same effect. In any case, I'll let you know in the dedicated thread if I manage to finish anything suitable in time. Thank you for your review!

Hey everyone 🙂 I've been slowly plugging away at a cycle of 24 preludes. I got pretty slow with this (ending up only writing like one prelude per year for the past couple of years) so hopefully I'll pick up the pace now that I'm pretty close to the end (8 left to go!) Bb Minor is maybe my favourite key signature, so it was pretty hard to decide what this prelude would be like. The theme is 'Masquerade', and I think the personality of the piece is quite hard to pin down, a mix of sarcasm and earnestness. Hope you enjoy! 🙂 this is my first piece I'm posting on this forum, but obviously feel free to check out anything else on my channel + especially the first fifteen preludes in the cycle so far, haha

Great use of percussion in this work, including a load of techniques and instruments I'd never heard of. I hope the propane tank is empty; otherwise you could have an explosive ending!

Hello again @Vasilis Michael! What can I say? This is a masterful sonata that I can enjoy from beginning to end as if it's a masterwork from the classical era! Honestly, the only part I ended up skipping through is the double exposition in the 1st movement! You are steeped in classical pianism and it shows! There isn't a single awkward moment nor bad transition in the whole piece! The tonality is so free flowing and adventurous! It's amazing that you managed to start and end each of the movements in the same key - the freedom of the chromaticism is something I'd expect of free-tonal pieces that modulate when they want to without any obligation to stay in any particular key. The abundance of themes is also very Mozartean. And they are very delightful and musically interesting - I wouldn't exclude nor add to any of the movements in any way. I think they are perfect just the way they are. I don't usually like slow movements but the peace and calmness and the space in your 2nd movement was captivating and adept - it kept my attention throughout and has a warm place in my heart. The minuet and trio was also very expert - I loved the E7 b9's! All your phrase extensions are also perfectly calculated and none are too long nor too short. But my favorite movement is for sure the 4th and final - I loved the cross relations! And I think your chromaticism really reached new heights in the final movement. It also has a somewhat Mazurka-like character to it that I really like. Overall - I cannot say enough good things about this piece! And the fact that you provided a very polished final score engraving for when you compiled the whole sonata in the final YT video is great! What program did you use? Thanks for sharing and by all means keep going! Do you ever plan on writing a piano concerto?

This is a really good piece!!! Interesting name lol 😂, i did see some impossibly high clarinet 1 stuff, but i think if you replaced it with an Eb clarinet you’d be fine! Awesome piece

It reminds me of 20th century neoclassical. Very nice.

I like how creepy it sounds and the dissonance you use! Kinda reminds me of shostakovich!

I couldn't help but fall in love with this track from Silksong - Cogwork Dancers after 8-bit music theory covered it:

Yes!! Anyway, the sounds you've got are nice.

Thanks Luis: that's exactly what I was aiming for! Can't wait to hear what it sounds like when played by real musicians.

Congratulations. I think it sounds great. I certainly think it has a very classical feel to it, but in many places it veers towards something more modern, such as some of the progressions in the slow section. I notice that it is treated mainly as melody plus accompaniment, which is quite light and with little emphasis on the counterpoint. All in all, it works wonderfully.

That sounds very pleasant. I always think these types of buildings are wonderful.

Here.

Here is my first submission!

I'm game. Vamos a ver que podemos hacer.

Dear friends, hello everyone! I'm Zhang Wenhao, a singer-songwriter from China. Today, I'm here to share with you an inspiring rock song called "Unextinguished Spark". The style of this song is inspired by many classic Japanese anime theme songs, encouraging everyone to hold on to their dreams and never give up easily. 亲爱的朋友们，大家好！我是来自中国的创作歌手张文灏。这次来跟大家分享的是一首励志的摇滚燃曲，名字叫《不熄的火花》。 这首歌曲风格的灵感来源于很多经典的日本动漫主题曲，鼓励大家坚持自己的梦想不要轻易放弃。 歌词如下/The lyrics are as follows： 《不熄的火花》/《The Spark That Won't Go Out》 作曲/Composed by：张文灏 Zhang Wenhao 作词/Lyrics by：张文灏 Zhang Wenhao 一次命运 偶然眷顾的微笑 让他从此 将毕生热爱找到 踏上了一条 漫长的跑道 微弱的火苗 在冷夜里不熄灭地燃烧 失意常常在他身边围绕 也偶有微不足道的骄傲 前路多糟糕 身心多疲劳 他都没想要 放弃奔跑 理想和热爱就像不熄的火花 哦 他想 总有一天能燃起滔天的热浪 哦 他想 每一个人都会有 为理想战斗 奋不顾身的时候 每个人也都会有 看不到尽头 想要放弃的时候 请继续坚定地走 别太过担忧 再耐心等一等 你想要的一切都 在不远处 在向你招手 失意常常在他身边围绕 也偶有微不足道的骄傲 前路多糟糕 身心多疲劳 他都没想要 放弃奔跑 理想和热爱就像不熄的火花 哦 我唱 就在今天燃起了滔天的热浪 哦 我唱 每一个人都会有 为理想战斗 奋不顾身的时候 每个人也都会有 看不到尽头 想要放弃的时候 请继续坚定地走 别太过担忧 再耐心等一等 你想要的一切都 在不远处在向你招手 每一个人都会有 为理想战斗 奋不顾身的时候 每个人也都会有 看不到尽头 想要放弃的时候 请继续坚定地走 别太过担忧 再耐心等一等 你想要的一切都 在不远处在向你招手 你想要的一切都 在不远处 在向你招手