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Hello my friends! I’m happy to present my Binary Sonata No. 26 to you as well. I hope you enjoy it!

I'm not done with the score for this yet: so please forgive the sloppy notation. Just hoping to get some comments on my orchestration choices before I finalise it. I know there are arrangements of this piano work for various ensembles; but I couldn't find one for symphony orchestra: so I thought I'd make one. Hope you enjoy listening! Rachmaninoff - Elegie in E♭ minor (orchestration) #26 (midi).mp3 Rachmaninoff - Elegie in E♭ minor (orchestration) #26 (midi).pdf

I’ve just finished my Serenade for String Orchestra, a piece that ended up having a rather unusual composition history. Some of the material goes back to 2021, while the first two movements were written mostly in 2024, and I finally completed the work this August with the Elegie and Finale. It wasn’t originally conceived as a single continuous project, but over time the different ideas seemed to belong together and eventually became this five-movement serenade: Präludium, Scherzo, Intermezzo, Elegie and Finale. Despite the different periods in which it was written, I think it ended up having a fairly consistent character—mostly light and calm, with the Elegie providing its more introspective moment. I. Präludium — A calm, pastoral opening that establishes the overall character of the work. II. Scherzo — A very fast and light movement, providing the most energetic and playful music of the serenade. III. Intermezzo — Relaxed and flowing, almost like a leisurely walk, without becoming overly reflective. IV. Elegie — The most introspective and melancholic movement, gradually building towards a more intense emotional climax. V. Finale — Begins with a tonally unsettled, march-like introduction before breaking into a bright and joyful A major conclusion, with brief returns of material from earlier movements. Hope you enjoy it, and I’d be very happy to hear any thoughts or feedback! Serenade.pdf

Hello A number of interesting topics. I’m speaking from a position of inexperience and, more to the point, as I’m still learning, so all of this is just suggestions or other possible options. As I said, it sounds brilliant as it is. Firstly, the issue of transposition for orchestra. I agree with what your teacher (your piano teacher, that is) said. But I think we need to consider making things easier for the instrumentalists. Another point is that it doesn’t really matter to us. It’s going to sound the same, at least in the context of virtual instrument libraries. But the reality is that in this key of E flat minor, it’s more complicated for the strings because there are no open strings; they have to ‘press down’ with their fingers all the time, losing resonance, and so on… I can see problems for the harp too, because being tuned to six flats puts a lot of strain on it. And changes may be more difficult. I think the woodwinds would be most comfortable with this. This key is rarely used in the orchestral repertoire, and I think it’s sought after for dark, tragic, profound tones. Perhaps it would suit something like the Elegy. As far as I’m aware, in the symphonic repertoire, the only works in E-flat minor are by Russian composers: Prokofiev’s Symphony No. 6, Rimsky-Korsakov’s Symphony No. 1 (which he himself transposed to E minor later), and a few others. The other issue, that of arpeggios… You see, in my orchestration classes and seminars we’ve discussed this quite a lot, as well as Alberti basses, etc… How do you adapt them for an orchestra? As I said in my previous message, a literal translation can, of course, work, because there are instruments capable of playing those arpeggios. However, we’re now dealing with an orchestra. It doesn’t have to be a single instrument that does everything. The important thing, I believe, is that the rhythm is clearly marked (with accents and pizzicato, for example), and that the figures are in the appropriate pitches and note values for each instrument. This is also where the question of how faithful one wants to be to the original score comes into play. That’s down to personal preference; we can be very literal, or we can take the main ideas and create an orchestral version. It’s true that for some scores I find it less appropriate to take liberties (for example, when orchestrating Baroque counterpoint), I’ve written these few bars in one possible arrangement, which I’m sure could be improved; I also think it would sound softer on the strings, especially with mutes. Haha, in the very first lessons I had on all this, we worked on Mozart and pieces like that, precisely to translate those piano accompaniments into something else. Cheers. Proyecto.mp3

Oh! These are great badges! Thank you @PeterthePapercomPoser and the support team! I like the designs for "Synthesizer Wizard," "Gentlefolk," and "Stimulator" are especially wonderful! Very nice! Also, adding this text to the first post in this topic ( @PeterthePapercomPoser's post listing the awards) might make things clearer! By the way, there is someone I would like to nominate for a badge, so I’ll take this opportunity to mention it here. Person's name: @Vasilis Michael Badge: Meticulous Composer Topic for the badge: https://www.youngcomposers.com/t50201/sonata-no-26-in-a-major-binary/ Reason: I think the piano composition itself is crafted with incredible precision—including the interplay between the left and right hands. Furthermore, the piano playback is really amazing; the articulation and sound clarity reflect that same meticulous attention to detail, which is why I wanted to award him this badge. His pieces are always wonderful, after all :) Best, Lithl.

My dead young composers, I think it is time to list resources I enjoy reading and am reading. I will start with more accessible to new composers then go to most advance ones. Every composer, under their toolbelt, should have firm understanding tonal harmony. While the millions of books on the market, it is probably difficult to decide which one to use. This is where your undergraduate course helps you. Professors have thier prefence. Mine used "tonal Harmony" However, if you want to get jump, I suggest two books: Fux treatise on species counterpoint, and Tchaikovsky treatise on harmony. Schoenberg also wrote two books on harmony. Be warned: Schoenberg book on Harmony is like reading book on philosophy. Traditional harmony is fine, but we are currently in modern era where that pushes the boundaries. Thus, book on 20th century harmony should the follow up. There are two books that go through this! I think Peter is going through one. He would reccomded that one. I have that one. And I would agree with his assestion about it. I would also suggest picking up book on Alan Forte and "The music of Bela Bartok" Understanding musical style is important as writer. Therefore, Charles Rosen books "The classical style" and "The romantics" are a must. He links Bach to each period. Speaking of Him, he wrote about Sonatas: Sonatas forms. (I hear there are 3 vol set about sonatas, but his book is more concise). Now to onto musical forms: Analyzing Classical forms and Sonata theory. Both are great books. But start with Schoenberg book on composition. I hope this well you. Also, score study. Share your works as you learn. And choose the best path that works for you. Orchestration is the final step! Rimsky-Korosky, Adler, Brant.

Hi I think Fux’s book is entertaining and can teach you a few things, but both the teaching method and the content itself are very outdated. These days, you need to understand counterpoint not only in its Baroque splendour or earlier forms, but also in Classicism, Romanticism and any avant-garde style. As for books on orchestration, my view is that many devote most of their content to the instruments themselves, rather than to orchestration as such. In that sense, the book with the most practical content of this kind is Rimsky-Korsakov’s, though that isn’t very up to date either… To get started with many contemporary compositional techniques, I think Vincent Persichetti’s book is essential.

As a type one sonata, I can safely say the following: The tonic pedal under the TR zone is nice touch. Our ears usually want to V pedal while there is key modulates. But a tonic pedal creates tonal stability and fits within type of sonata. Although there is not official ST after TR launch, which is linked to missing MS. We still have closing section, but not a codetta. The sentence structure in the opening is well written: statement and response. The middle section (B) is small development that follows up with A section. Overall, this type fits nicely with in early period of the romantic composers or with in late baroque-early classical period. I imagine you were inspired by Clemente, Scarleti, Schubert, Mozart, etc. Let me know. I just read @Lithl comment and your reply! Yes, I can see how his works would have influence you. We would not think his sonatas as the norm, but back then, sonatinas were. It is right to say it is binary, but more accurately it is sonatina. :D

Hello everyone! This post marks one of the few solo piano pieces I have created. As a classical pianist myself, there is a certain abrasion to writing for the pianoforte that I have come across. It has a special connection to me for my own expression, whether it is by performance, teaching, or discussing. To write for it alone is a daunting task as I hold a lot of respect for the composers who came before me. This said, I wish to present Sternenliebe to you all. Written in 2025, this work captures passionate love. It was my letter to an admirer, however, our connection was never realized by the time I left for a new chapter of my education and career. Attached on the manuscript was this message, and when reading it now, the more I reflect on what could have been: "Not a day will go by where I don't think of you. Not a night will go by where I wouldn't wish to see you. This piece is my reminder that each time you look to the sky, I am under the same stars looking back hoping to embrace you again. When you hear me play it, know it's because I am thinking of you." I hope you enjoy this nocturne I have created! If you want a little more information on the structure of the work, you can find it on page 3 of the document (marked as page 1). Lastly, besides the score, attached is a video of me playing it! https://youtu.be/9Zz_voOD3r0 SCORE_Sternenliebe.pdf

Hi all - I’m back from a bit of a musical hiatus/summer break, and I wanted to share my latest orchestration project: Fauré’s Nocturne No. 1 in E-flat minor. Some of you may remember an earlier orchestration of this piece posted on the forum by @Alex Weidmann which I also reviewed at the time. That version gave me some ideas and eventually inspired me to try orchestrating the piece myself, although I ended up taking my own approach to it. I still think this is a surprisingly difficult piece to orchestrate. E-flat minor is not the friendliest orchestral key, particularly for the strings, harp, and transposing instruments. The piano writing also contains a lot of overlapping lines and inner details that cannot simply be transferred directly without the texture becoming too heavy. As an additional challenge, I limited myself to a relatively small chamber orchestra: two flutes with piccolo doubling, oboe, English horn, two clarinets, two bassoons, two horns, harp, and strings. I was thinking loosely of the scale and transparency of Ravel’s orchestration of the Pavane pour une infante défunte, rather than trying to imitate its sound directly. My goal was to preserve the intimate, nocturnal character of the original while passing the melodic material between solo winds, divided strings, and occasional string soloists. I also tried to avoid using the harp as a constant substitute for the piano, saving it instead for color and continuity. I’m interested to hear what everyone thinks. The score and audio are attached—thanks for taking a look! Nocturne No. 1 in E Flat Minor - Flow 1.mp3 Full score.pdf

I think it sounds absolutely brilliant. And it’s an impressive piece of work, especially the detail with which you’ve crafted the strings. I also really like the fact that ‘it doesn’t sound like a piano at all, but rather like an orchestra’. And yes, I did want to make a few observations which, as I say, are just that – my opinions. Firstly, I’ve already mentioned the question of key. E flat minor is a brilliant key for the piano, but it’s one of the worst for the orchestra. Berlioz said as much in his treatise, as did Rimsky-Korsakov in his. I don’t know, it seems there’s a bit of a fear of transposing the work a semitone up or down, as if it were sacrilege or as if we were straying terribly from the composer’s intention. I believe that if we’re orchestrating, we have to make the best decisions to ensure it sounds as good as possible. But I’ll say it again, it’s up to each individual. The second point is the choice of the English horn as an instrument throughout the work. It’s not that I think it’s wrong, but I do wonder whether it’s really necessary. Apart from specific cases (Impressionism, etc.) where it can serve as a distinctive ‘colour’ instrument, in the orchestra I believe it is an instrument of extension and should only be used when the two oboes cannot cover the lower register. The opening line, for example, could be played very well by a second oboe. In other instances, even where it is possible, I feel the English horn is in a rather high register. Thirdly, another instrument where I would sometimes have assigned its part to a different instrument is the flute. In bar 15, it is in a low/very low register and will be completely drowned out by the English horn, even with the flutes in A2. I can see the intention to add a different colour to that phrase, which is why they’re doubling, but I’m not sure – in this case, I would have doubled the C an octave higher with a clarinet, for example. The octave doubling of the A-flat flute in bars 52–53… There, Flute 1 completely drowns out Flute 2 because it’s in its brilliant register, and Flute 2 is doing its best. One of the things I was taught on the woodwinds is to try not to double at the octave with the same instrument, because the difference (imbalance) in tone and volume is very great. It’s better to double with another instrument whose range in that other octave is optimal. Well, please excuse all this, as these are minor details in the context of such an extensive and beautifully crafted score, which sounds absolutely marvellous. Finally, a question: what software do you use.... In bars 73 and 74, the clarinets haven’t been condensed I don’t know if you do this manually or if the condensing is automated. I sometimes have those problems and when the programme won’t...

I always agree with this and think you can never know how to compose unless by composing. To quote Hegel, knowing is always negating since it turns the thing to be known as object, rather than as a subject. However only a subject can compose. A subject is only known by their activity in a continuous sense, so only in the moment you’re composing with inspiration you really “know” how to. I will go further to say music is more than emotional restlessness, it can even be the Spirit’s restlessness express through the composer as the medium to express itself. Henry

A 7-voice canon I have been recently working on with the intent of following the rules of counterpoint while employing a somewhat unorthodox usage of extended harmonies and tonally-adjecent suspensions, featured heavily in the minor 2nd intervals produced by the maintained rhythms of each subsequent entry in the opening section. The text corresponds to Bible verse Matthew 28:5, translated as follows: "But the angel said to the women in response: 'Do not be afraid, for I know that you are looking for Jesus, who was crucified'." The addition of the initial "et" conjunction to the Latin text is not present in the Vulgate version of this passage, however its inclusion was deemed necessary to accommodate for the prosodic adaptation of the entire verse across the whole piece without disturbing the flow of the initial suspensions. The choice of the text was based around Bible verses mentioning angelic contact, and more specifically those containing the phrase "fear not"/"be not afraid" as a more secular reference to the niche Biblically-Accurate Angel meme trend which inspired the compositional concept at the core of this piece. YouTube video link: https://youtube.com/shorts/um0jb9Y8iJ4?feature=share Canon at the 2nd a 7 in F-sharp minor.mp3 Canon at the 2nd a 7 Et respondens autem angelus dixit.pdf

Hi all. I’m reading a very interesting book called Musical Poetics, which brings together six lectures given by Stravinsky at Harvard between 1930 and 1940. I highly recommend it; it’s an enjoyable read and, well, this man certainly knew what he was talking about. On the subject of composition (Lecture No. 3), he says: The study of the creative process is one of the most delicate. It is, in fact, impossible to observe the inner workings of such a process from the outside. It is futile to try to follow the stages of another’s work. It is equally difficult to observe oneself. Even so, I believe that by drawing on my own introspection, I may have some chance of guiding you through this essentially fluid subject. Most music lovers believe that what drives the composer’s creative imagination is a certain emotional restlessness generally referred to as ‘inspiration’. I do not intend to deny inspiration the prominent role attributed to it in the creative process we are studying; I simply maintain that it is by no means a prerequisite for musical art, but rather a secondary manifestation in the sequence of events.

I actually take the stance of a classical Chinese literary critic book, "The Literary Mind and the Carving of Dragons" [文心雕龍] that you have to be really familiar with all the techniques and theories that when you write you can forget all of them and use them whenever the music requires. My way of writing is always intuitive but I always study when I'm not writing as to prepare for my intuition during composing. For me it's not appropriate to write for theory; theory serves composition and not the opposite. Theory always comes after works are written, and this holds true for all forms of creation. For me the purpose of music is the same as poems: to express yourself in a unique way, the only difference is that poem uses words and music uses non-verbal sound. I totally agree with you guys, for me there's no intuition or inspiration without already some composing skills in your head. Your knowledge storage determines the quality of your inspiration. I have the same approach with you @Vasilis Michael ! Usually I allow the music guides me to where it want to first, and then after that inspiration spike and I return to my own I start polishing the natural gem with my own polishing skills! Thx for this great topic! Henry

The way I approach composition is primarily intuitive, and it relies heavily on listening and on my direct relationship with the instrument. I usually don’t begin with a specific theoretical or harmonic idea, but rather with a sound, a musical gesture, or a feeling that emerges at the piano. I allow the music to develop as naturally as possible, following what my ear and instinct tell me, and only afterwards do I use my theoretical knowledge to understand, refine, and shape what has already emerged. I also think that my many years of immersing myself in the music of the great composers have deeply influenced the way I think musically. Through years of listening to and studying their works, many of the principles of their musical language have gradually become almost intuitive to me—not as conscious rules, but as an internalized musical language. So, for me, theory is not the starting point, nor is it a set of rules that I have to follow; it is rather a tool that helps me give form, coherence, and clarity to something I have first heard and felt. For me, music is first heard and felt, and only afterwards analyzed.

Wow, my friend, thank you so much for this! ❤️ I honestly didn’t expect it, and it means a lot to me. Being described as a “Meticulous Composer” is a particularly meaningful compliment, because I really do care deeply about the smallest details in my music — from the interaction between the hands and the articulation to the harmonic choices and the overall character of a piece. I’m especially touched that you chose the Sonata No. 26 as an example, but even more by the fact that you see this quality throughout my work. After all, these pieces are a very personal part of my musical journey. Thank you again for your kindness and support, my friend. I’m genuinely grateful to have my music appreciated in such a thoughtful way. ❤️

A magnificent piece: I love it! Especially the way it combines Baroque counterpoint with a modern harmonic language. The only problem is, it's unplayable in places. Bars 28 and 35 to name but two examples. Human hands cannot reach all those notes! Also Page 2 would benefit from having the left hand in treble clef most of the time; otherwise you have too many ledger lines to read. The notation is generally quite confusing to the eye. This is partly down to the voice allocations. Bar 47 is a good example. The lower notes in the right hand would be far easier to read if they were merged into the left hand. The upper notes in right hand voice 2 should be in voice 1, and the B natural is unplayable. Definitely worth revising this piece to fix these problems, as I think the composition is very good. It would be a difficult piece to pull off; but could be made playable for sure. Btw, the audio sounds strangely muffled sometimes. Not sure what's happened there? Anyway, hope that helps. Alex

As per @Lithl 's suggestion, some new badges have been published! Yes - good point! If you wish to anonymously nominate someone for an award, you can message any of the staff privately and we will take your nomination into consideration!

Hi @Vasilis Michael ! Another great work my friend! That Neapolitan F major resolved to E major in 0:40 sounds so magical to me. I would describe your style as a mix of Schubert and Scarlatti! Both composers are magical in their modulations and you too! Henry

My dear friend, thank you so much from the bottom of my heart for this wonderful comment! ❤️ I’m incredibly happy that you enjoyed the sonata, and even more so that you noticed so many details in the music, from the dynamics and tempo transitions to the interplay between the two hands and the way the music leads towards its conclusion. These are things that are very important to me when I write. And what you said about my scores—that you can somehow sense the thought and warmth behind their creation—really touched me. For me, a score is not simply a way of writing music down; it is a part of my thoughts and a little piece of myself. And as for Scarlatti, your comment is an enormous compliment to me, because his music has had such a deep influence on this part of my musical journey. 😊 Thank you again for your kindness, for taking the time to listen to my music so carefully, and for continuing to find something of your own in it. I truly appreciate it my friend! ❤️

I have yet another orchestration for you today. This was apparently Debussy's last work, which makes it all the more poignant for me to orchestrate. It contains some surprising and fascinating harmonic progressions, pointing the way towards those composers who came after him. I've tried to maintain the furtive and playful nature of the piece, and kept the orchestration as light as possible. I think I've probably gone a bit too high for the trumpet? Might be a bit squeaky and unpleasant up there? Colin Matthews has orchestrated this one, and I listened to his version about a week before crafting mine. Tried not to let it influence me at all, and I haven't looked at his score. Anyhow, looking forward to your thoughts... Debussy - Les soirs illuminés par l'ardeur du charbon #19 (midi).mp3 Debussy - Les soirs illuminés par l'ardeur du charbon #21 (score).pdf

Hello Fantastic. I think it captures the romantic spirit of Fauré very well – intimate, aristocratic and with a restrained elegance – acting as a direct bridge between the 19th century and French Impressionism. It all sounds very clear. I just have two comments: 1. Another thing that’s been firmly etched into my mind regarding the orchestra: always reinforce the bass. Because it’s in the part of the audio spectrum that the human ear perceives least clearly. Here it’s carried solely by the double basses; it could be doubled by the cellos, or a horn, or alternated, since you don’t have any bassoons. 2. Finally, I’m not sure if it’s possible to fit mutes onto the violins and viola in such a short space of time (half a bar). Overtones could be used for that effect. Best regards.

Hi @interlect ! Nice video and music! I do wonder about the credits though... "Evelyn Nightmare", "Max Martini" and "Stella Midnight" sound like fake names among many others. Did you get this footage from some website selling stock footage? Thanks for sharing!

Hi @interlect ! It does sound like film score when the protagonists are saving ppl from disasters! Henry

I would like to supplement some information too: I think "Harmony and Voice Leading" by Aldwell and Schachter is the standard textbook for understanding tonal harmony. For me Damschroder's series of Thinking in Harmony and Harmony in XX(Composer's name) is a really good practical series. The 3 volume set is William S Newman's series and I had read the series last summer. Rather teaching Sonata form the series is on the historical change in Sonatas in different musical periods so not neccesarily useful for beginners, but it's a really good read if you want to know the history! Adler's book is a must read on orchestration. I read it this year and it helps me so much on orchestral writing! Henry

😱

Another musical quote from "The Occult" by Colin Wilson: And if you've gotten this far, thanks for reading!

Thanks my friend! All the credit goes to my parents and the Lord for the looks LOL

The starting key is technically F-sharp minor. I'm guessing you assumed it was E major since the 2nd entry is in its relative minor, C-sharp. The coda is in F-sharp/G-flat major, the relative major of the initial key. Thus, one could say it goes full-circle before the ending. Thank you kindly for your observations. Even though my Pantonal Perpetual Canon series is not yet over, I have been stuck for months on developing others of its type. Even though the contrapuntal possibilities might as well be infinite, the formula and its configuration are now so strictly defined all the parameters involved seem to stifle new ideas and actively work against more unconstrained developments (admittedly an ironic outcome considering the core message of this one canon in particular). As such, I will have to bring it to a pause until I regain the inspiration and creative spark necessary to keep working on them. Until then I should once again focus on choral music due to circumstances I cannot fully disclose yet, but which (with enough luck) may see one of my pieces performed for the first time ever! Although such a dream is still as uncertain as it could be, the mere possibility fills me with hope. Expect future updates on this around the turn of the year!

Hi @Vasilis Michael my friend! Thx so much for your comprehensive review and appreciation! I feel really happy for it! Yeah I hate doing the same thing all the time so I chip and chop here and there to vary the music. I always think in a chamber music every player is independent and at the same time harmonizing and cooperating with each other (just like a fugue but unlike orchestral music) so I always want every player has a chance to shine themselves and communicating in different ways. Yeah I think it will be boring if I don't do so: I could have changed the melody for variation but since I really love that particularly melody, I can only change the instrumentation and keys and texture for varitation, as well as pushing the music forward. I put coherence and motivic development in the first priority in my music since that makes a piece a meaningful entity rather than seperate parts forcefully glued together to be named as a piece. The harmonic language is determined by the Eb-D-C-B motive itself, as there are lots of modulations via major 3rd which is also the main motive of the whole piece. I want that major motive not only controlling micro but also macro aspect of the whole movement as well. Thx for mentioning Brahms, I only notice recently that the whole Clarinet Qunitet is essentially Brahmsian. Yes, the confuso description is added in this revised version since I find it fit to the music. The dark energy here is released by 1st movement's disappointment and despair and may be you can check it out too if you have time (it's 21 minutes long 😬): When I compose I always think of what I want to express and what the music itself wants to express. To me technicality is always means to the ultimate aim of the music: the unique meaning this piece of music can express. So every piece of music has their own life because they have their own thing to express. Being effective is merely a prerequisite for real expression in arts. I am really happy to have discovered your music and invite you to this forum! I love your music even more since recently I am digging Scarlatti's Sonatas one by one. Thx for your review and activity in this forum! Henry

Hi @ferrum.wav ! I just listen to the updated version without scrutinously comparing the score, but I agree the updated version is less boring! The music definitely feels more moving forward and there are more varities in texture. I can tell the quality is improved! Thx for sharing the update! Henry

Hi @Alex Weidmann ! I listen to both the original and the revised version and I enjoy both versions to be honest. I think for @Luis Hernández 's suggestion is that the whole arppeggiated phrase need not to be played by one instrument alone: for example in 4:20 even if you want the whole phrase played by flute alone, you could have shared the phrase to flute I and flute II players respectively, or in some bars later by divisi Vioin I players which will give the additional benefit of minimizing the volume as well. Thx for sharing this wonderful (again!) arrangement! Henry

Hi Mason, The accompaniment at the beginning immediately reminds me of the Db major Nocturne of Chopin. The half diminished harmony in b.20-22 is really nice, and I like the more fluid section after it. A simple but really nice nocturne indeed and thx for sharing! P.S. And forgive me if it sounds weird, but permits me to say that you look really charming and handsome playing the piece =.= Thx for playing it by showcasing your own playing. I play my pieces too but I never dare to show own ugly face playingthe pieces 🤪. Henry

after two WEEEKKKS, the revision is finally DONEEEEEEEEEE (definitely longer than a few days lmao) i ended up investing more time on this but its definitely worth it cus i do think is so much better. a lot of it was just changing the boring accompaniment to make it more interesting rather than repeat one to one. the new version highlights those peaks on phrases, added more rooms to breathe, and variations!! im definitely spent on this damn piece but is out now so ENJOYYY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! here's the OLD version for comparison, NEW version is on the main post at the top of this thread. To Fantasize Contentment OLD.mp3 To Fantasize Contentment OLD.pdf

Wow a nearly 800 bar scherzo 😵‍💫 I haven’t heard it yet but have read the score. The persistent of the opening motif is indeed “confusing”. Intentional I suppose of course.

Great job Luis! By sustaining notes and using mixed articulations, you've managed to disguise the changes in timbre so they're not jarring. Also creating a richer sound in the process. I will definitely experiment with something similar.

Thanks Tristan, I'm glad you like the balance between strings and winds, as this is something I've been striving for in my orchestrations! Alex

Hello That sounds fantastic. I just have one ‘objection’: the harp, as an almost literal substitute for the piano, doesn’t strike me as an orchestral solution. Piano arpeggios can be achieved in other ways using woodwinds or strings, or by combining them in a way that’s true to the instrument’s character, whilst maintaining the voice leading and rhythmic patterns. That would sound more symphonic. Yes, it takes a lot more effort to find the right solution, but it’s worth it. When I try to orchestrate piano pieces, I simply don’t use the harp. Perhaps later on, as an occasional supporting element or in specific moments…

Nice! I love this, and have personally performed the original. You might want to give the harp some rest though lol. The strings and woodwinds are rather equal, which is great! Good job! -TristanTheTristan

Quite beautiful.

My dear friend, Henry I really enjoyed going through this Scherzo. There is so much musical thought behind it, and I found myself discovering something new with every page. What impressed me most is the way you handle the texture: the voices are constantly interacting, imitating, answering and overlapping one another, creating a very alive and organically developing musical surface. It never feels like simple accompaniment supporting a main line — the whole ensemble seems to breathe and move as one. I particularly loved the development section. I think this is where your compositional thinking really comes through. The way you take small fragments of the thematic material, redistribute them between the instruments, transform them rhythmically and harmonically, and gradually build the tension is extremely effective. There is a genuine sense of motivic development rather than simply repetition, and I found that especially satisfying as a composer. The harmonic language also really caught my attention. I absolutely loved the modulations throughout the movement — some of them are wonderfully unexpected, yet they feel completely natural within the musical logic. I particularly enjoyed how the harmonic changes are connected to changes in colour and texture, rather than functioning merely as changes of key. There were several moments where I felt a beautiful Schubertian quality, especially in the harmonic movement and the way certain ideas seem to expand almost organically. In other passages, however, I was reminded of Brahms, particularly in the density of the inner voices, the motivic development and the richness of the harmonic texture. I found that combination very fascinating. I also really enjoyed the character of the Scherzo itself. It has this wonderful mixture of playfulness, darkness, nervous energy and even a certain sense of irony. The “confuso” aspect is not simply created through speed, but through the interaction of rhythmic layers, accents, articulation and constantly shifting instrumental roles. That gives the movement a very distinctive personality. As a composer, what I appreciate most is that beneath all the technique there is a genuine musical personality. I can feel that you are not simply trying to write something “effective” for the ensemble; you have a very clear musical imagination and your own way of thinking about harmony, texture and development. That is something I respect enormously. It was a real pleasure to study this, my friend. I know how much you appreciate my own music, so I want you to know that the admiration is absolutely mutual. I have great respect for your work, and I genuinely enjoyed spending time with this movement. Congratulations on a beautiful and very thoughtfully crafted Scherzo! ❤️

My dear Henry, thank you so much, my friend! ❤️ I’m really happy that you noticed that particular moment with the Neapolitan — it’s one of those harmonic moments I especially love, and I’m very glad that it felt so magical to you. And the fact that you describe my music as a mix of Schubert and Scarlatti is a huge compliment to me, especially coming from a musician and composer whose work I appreciate so much. They are two composers I deeply love, and in my own way, I feel that I find something of myself in both of them. Thank you sincerely for your beautiful words, Henry. Your opinion means a lot to me, and I’m very happy that we can continue sharing our music with each other! ❤️ Also, when I find some time, I definitely want to listen to the Clarinet Quintet you posted. I’m really looking forward to hearing it! ❤️

Hi @Lithl ! Thx for your review! I learn from my past failure and you can check out my first post here, it’s the earlier version of the quintet and the dynamic there is so bad 🫣 To me this movement is about dark and crazy energy despair brings me. The 1:53 melody is a sarcastic one to play with, and 5:27 even more sarcastic when I failed to claim transcendence for my suffering haha. The ending represents the exhaustion of energy with pizzicato as this gives way to internal reflection for the 3rd movement (which I consider the best movement of the work), so stay tuned! Henry

Um... is this an undiscovered work by Scarlatti or something like that? Anyway, some people in this forum have amazing compositional skills and knowledge. Not everyone does, though, and I mean, hats off to such people. And I think you are one of them. At least, I think so. You have amazing composition skills. I appreciate this piece. The resonance of the sound is great, and it excels in every respect—from the dynamics and tempo transitions to such a smooth, flowing quality and a well-executed conclusion. The interplay of sound between the left and right hands is also nice. It feels as if the sound is sparkling. By the way, I like your sheet music. I’m not qualified to judge the technical accuracy of the scores, but there is a certain quality to them—you can sense the deep thought that went into their creation. They have a real warmth to them. Ok, this world is "so fair" that even when we compose for ourselves as a hobby, etc., there are magnificent differences, haha. Hats off to you, again, @Vasilis Michael!! I like your pieces! Best, Lithl.

After some thought, I think I'll scrap the piece, just keeping my A section and seeing what I can do with that.

I started this few years ago and posted a couple pieces of this suite before. I had intended to finish it but set it aside and hadn't worked on it in a while. I finally cam back to it a few weeks ago and decided to finish it. It's based on the Hans Christian Anderson story of the Steadfast Tin Soldier. My goal was to write each piece in 3/4 timing, as I don't often use that timing and to keep each piece to less than 4 minutes (thought the finale is just over 5 minutes). I included a description for each piece to describe the action. I. The Tin Soldiers Play War There were once twenty-five tin soldiers, born of the same old spoon. The little boy lined them up together, all splendid in their uniforms of red and blue. They all looked the same, except one. He looked a little different as he had been cast last of all. The tin was short and, in turn, so was he. But there he stood, as steady as his brethren. The little boy marched them around the table, clashing them together and making booms like cannons and musket fire. II. The Paper Ballerina’s Dance He lined them up to protect the model castle and the other small toy figures inside. One of those was a little paper ballerina, with a fluffy gauze skirt and a glistening jewel around her neck. The little tin soldier thought to himself, “I would so love for her to be my wife, but maybe she’s too grand for me. She lives in a castle, and I have only a little box that I share with twenty-four other soldiers.” He hid behind a little box, steadfastly watching her as the other soldiers continued to play. III. The Soldier and the Ballerina’s Pas de Deux When night came and the children went to bed, the toys came to life and began to play on their own. The little tin soldier moved toward the ballerina and offered his hand. To his surprise, she did not reject it; she clasped his hand, and the two began to dance. As they whirled around the table, they looked into each other’s eyes and knew they had found their true love. IV. The Jealous Goblin But in the shadows lurked the goblin who lived in the jack-in-a-box, and he was not pleased with what he saw. For he thought the ballerina belonged to him and did not appreciate this newcomer taking his place. He approached the soldier and said, “Keep your eyes and hands to yourself.” He pushed at him, but the tin soldier stood stiffly in his spot. As the goblin stalked away, he said, “Just what till tomorrow!” V. The Soldier Falls from the Window The next day, maybe by chance or maybe because of the goblin, the little soldier ended up on the open window ledge. Whether it was a gust of wind or a goblin spell, the little soldier fell three stories to the ground, landing between the paving stones. VI. The Journey on the Paper Boat He lay there all night till two boys found him and placed him on a little boat and sent him sailing down the river. The little soldier thought about his dear ballerina and if he would ever see her again. The stream began to move faster and faster, carrying him toward the drain to the sewer. VII. The Escape from the Sewer Rats The tin soldier found himself floating through the sewer. Suddenly, a group of rats came toward the water, demanding that the little soldier pay a toll for passing through their land. They scurried around to find debris to throw at the boat. The little soldier tried to steer the boat around them, but it led him into a fast-moving tunnel and through a drain that led out to sea. The boat turned over and the soldier fell into the water. VIII. The Fish and the Surprise Inside Before he could sink to the bottom, a passing fish swallowed him and the little soldier found himself in the fish’s belly. He moved back and forth as the fish swam. All of a sudden, the fish began to move wildly and then fell still. He then heard loud noises coming from outside before turning quiet. A knife suddenly cut through the fish’s belly and before the little soldier stood his former master’s cook. He had miraculously found his way home. IX. The Reunion and the Fireplace The little soldier stood on the table, his paint worn off, but he still stood as stiff as ever. Across the table, he saw his ballerina, his love that he thought he would never see again. His heart was filled with so much regret for the time together they had missed. But lurking in the shadow was the wicked little goblin. He would not let the little tin soldier take his girl away. Maybe by chance or maybe it was the goblin, but one of the children picked up the soldier and threw him into the fire. The goblin danced in delight of his victory, but suddenly a gust of wind blew the paper ballerina into the fire with the soldier. The next morning, when the fire had died out. The maid saw in the ashes a tiny tin heart, and at the center was the jewel that the ballerina wore. Joined together, as one. 14 The Tin Soldier's Play War.mp3 15 The Paper Ballerina's Dance.mp3 16 The Soldier and the Ballerina's Pas de Deux.mp3 17 The Jealous Goblin.mp3 18 The Soldier Falls From the Window.mp3 19 The Journey on the Paper Boat.mp3 20 The Escape from the Sewer Rats.mp3 21 The Fish and the Surprising Dinner.mp3 22 The Reunion and the Fireplace.mp3

When it comes writing, I like to write from structural point of view. Think analyical as I write (melodic form, hamorny, musical form, counterpoint, etc). That way, I can try to a cohesive composition. The recent piece I wrote I went through and looked for motive i could use for ending section. :)

I really liked the replies and I couldn’t agree more. The ultimate purpose of music, as has been pointed out, is, I believe, to evoke emotions, whatever they may be. And taking it to extremes, whether one relies solely on inspiration or bases everything on theoretical and technical considerations, the result will be ineffective. I don’t think there’s a single composer, including in pop music, who has achieved any real success by relying predominantly on one or the other. Many pop musicians don’t have much technical training, but they have teams behind them who make up for all that. Relying solely on inspiration and intuition is like a surgeon who operates with great talent but knows nothing of anatomy. Conversely, an anatomist cannot operate on the basis of theoretical knowledge alone. These are inseparable aspects for any composer of even the most basic calibre. And as has also been said, ultimately it becomes a naturally interwoven process. The idea, the inspiration, can come from a great many sources, but technical knowledge allows you to greatly improve the result in every respect. I also believe that, nowadays, many composers are eclectic and draw on elements from various musical languages, depending on what they think will work best for what they wish to express. I don’t know – the broader the range of resources, the more varied and better the results can be. It’s like being a chef with 10 ingredients or with 100.

My bad I fixed it. The link is to the youtube recording