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The suite's finally up! A lot of movements have been posted here already, but it is a different experience all the way through (if I do say so myself 🙂). Movements 3 and 5 have not been uploaded here before if you want to skip to those, though. Enjoy!

This does sound great! Nice job! Short rant incoming though. I've spent plenty of my life being down on myself so take it from me: You're not always gonna find people who will build you up at all the right times, so you gotta be comfortable doing it yourself when you need to. It's tempting to keep fixating on your insecurities instead of your strengths. I'm guessing you say that you suck or that your music sucks because it's less painful/vulnerable if you say it before someone else can. In the long run, you're not doing yourself any favors though. As much as you enjoy writing music now, trust me you'll love it even more when you're not second guessing yourself or having to downplay your talents. Okay that's over now. This was a really nice little piece. I hope your church enjoys your writing! Keep it up!

Jesus, man, how much are you paying for this?

Composed some years ago, written in both contemporary and jazz styles. Hope you enjoy. https://www.youtube.com/watch?v=QV76RLRVce4

Hi, here my new composition. I wanted to create a dark and dramatic atmosphere with the use of brass and double reeds. It starts with a Trombone solo with a timpani triplets, with reminds me somebody knocking at the door heavily. And in bar 12 come the violins with descending sixth chords with a seventh tension on the first violins, that reminds me of heaven and the angels. The main theme with its full harmony comes in bar 18 played with the full brass section and doubled with a timpani triplet pattern on the tonic and the dominant. at bar 45 comes the second section, more lyrical, with a choral style and after that, at bar 72 comes a repetition from the beginning with a final coda. I don't extend more my explanation, you can see more by yourselves. Hope you enjoy and looking forward to you comments.

Hi! I wrote this piece for submitting to choral composition competitions in next few months... Could you give me any comments after listening to the piece? I'd really appreciate your help! (Attached are PDF score and computer-generated audio)

Nice music. It's remarkable the way you get a really (but mild) oriental sound, just using scales and some chords (not all) with 5ths and 4ths in the bottom. Surely you would get a stronger (oriental) sound with other devices (pentatonics, scales with augmented seconds, etc...). But it's OK, because it blends very well with the polonaise part. There is only one thing I'm not very fond of, and it is, particularly in the first part, the "excess" of arpeggiated chords. I think it weakens the piece, I mean, it makes it sound more "¿corny?", and it belongs to another style. I know if you have wide chords there is no other way but to roll them, but I would figure out other solution (just my opinion, if you like it ...OK).

Thanks a lot!! You actually got me! These were the main reasons, but I would add that each Rondo is focused on stacatto practice too and the first one is focused on phrasing too.

When I did a cleanup of my old files, I found the beginning (first 15 bars) of a waltz. My intention (back in 2010) was to write a piece as homage to Chopin on occasion of the celebration of his birthday in 1810. However, I abandoned it, because I had too many other ongoing projects. Instead of deleting it, I now finished it last week. I have to say that it was really a useful experience to write something in a Chopin-like style. The first phrases and their repetitions later on in the piece are of course very, very much Chopin, but there is also a lot, which is different. I would be curious to know what you think of it (thanks in advance for your feedback).

I'm not sure if this is the right forum to write it there, but... well, nevermind. I just need support. I'll be glad for any answers. My sad story began in September when I started attending a conservatory. It was my dream for a really long time so I was excited about that... But there's one thing which is very important for the story: I suffer from manic-depressive states. For some stupid reasons, I haven't sought help until this June. My treatment is in phase "we'll try this medication and see what it will do". So, as I said: I was excited about the conservatory. But then the depression came and it was really bad this time. Music stopped making sense for me. It became a bunch of strange, illogical sounds. I literally wasn't able to compose anymore. Then I stated attending a technical university (because studying two schools simultaneously is really a great idea) and it went even worse. I couldn't do all the things I had to do. I thought it would be better if I would be dead. And so on... many other things that depressed people usually do. I had to leave the conservatory. I left the school only temporarily for now so I can return there. But I'm not sure if I'll be able to do so. I talked to my composition teacher about my problems. I didn't want to do so, but I was meeting him for quite a long time and I thought it would be rude not to tell him anything. He told me that he had a student who came from a technicians family (as well as me) and had hard time pushing ahead his career as a musician (as well as me). He developed schizophrenia during his study, stopped to be able to attend the school and slowly found out that music was actually the trigger of his illness. Maybe music is the thing which is causing my problems. And maybe not. I don't know. I'm not sure about anything. However, I was still feeling bad until I've got better medication. Now I feel better, so I can think about stupid things, such as "my life has no purpose now" or "I could have became a great composer and now I'm a substandard programmer". Music was always kind of mission for me. And everything I've ever dreamed about has disappeared now.

Hello everybody! This is my latest piece, which was inspired by composers such as Arvo Pärt, Francis Poulenc and Samuel Barber. It was also a study into the use of artificial harmonics and textures. It's also important to note that the harmonics won't sound that clear in real life. However, I structured the piece so that the first parts of the music won't require clarity of the individual lines. The last third of the piece has almost no harmonics so that It becomes more "meaty". Anyways, I hope you all enjoy it, and as always, feedback is greatly appreciated!

Hello, everyone. It's been a while since I last posted anything, and I finally have a new piece for you all to listen to: the Fantasia in F-sharp minor. I consider this piece to be my most ambitious work for piano, and also my most personal work. It is also my now-longest composition, lasting roughly 32 minutes in length. The Fantasia is in 3 movements: Movement 1. - Ballade: Moderato serioso (F-sharp minor) Movement 2. - Barcarolle: Andante (F-sharp major) Movement 3. - Finale - Tempest: Moderato - Allegro appassionato - Maestoso (F-sharp minor-major) Here are my performances of the movements on Youtube: I hope you all enjoy. 🙂 Theo

A little and quiet piece for this month. November.pdfNOVIEMBRE.mp3

Hello, It has been a while since I have active on this forum. Please accept my apologies. I will be more so going forward. My musical projects mostly revolve around learning and applying classical "patterns" to my own work. For those who are interested in learning about these patterns, I would recommend Robert Gjerdigen's book, Music in The Galant Style, as a starting point. Listening will also help a great deal as it will enable one to learn to recognize patterns by ear, and hear how they are strung together. Galant music is very accessible, as with its simplicity as, generally speaking, the increasing complexity of counterpoint up until the 1750s was intentionally scaled back in favor of more straightforward and relatable melodies and harmony. The schematic guidance should enable the composer to produce a skeleton for the sequential events in your music. This makes it particularly useful for there will always be inspiration to draw from. How interesting you make it will depend on your character and experience. By way of illustration, I will go through one of my works with a step by step guidance on the schema used (please see attached score and visit http://openmusictheory.com/schemataSummary.html for a free reference which illustrates each schema used here). Please also consider visiting you tube channel https://www.youtube.com/channel/UCugHqLqLkl8Rwq0E7hxJDxw which contains audio examples of many schemas, or pattern discussed here: https://soundcloud.com/markus-alexander-boyd/largo-for-winds Bars 1-4: This is basically a sol-fa-mi, where the upper melody moves step wise from the 5th degree and cadences on the 3rd degree. I have varied its presentation, however, resulting in a harmony, not entirely consistent with the schematic design... Bars 5-8: This consists of a step wise ascent from the 4th to the 6th, in the clarinet, and this is to prepare for converging cadence moving the music to D Major to prepare for the second subject. To quote Robert Gjerdigen, "The converging cadence was an exceedingly popular schema and developed several sub types with characteristic features". This sub-type is one which falls from the 6th degree (of G) and closes on the 7th (or 3rd or D), whilst the bass ascends chromatically to D to resolve the passage. Bars 9-12: This is a Meyer, which I use regularly in my music due to its versatility. In its basic presentation, the the upper voice ascends from the 1st degree to the 2nd (which I treat as the question) and is answered with an ascent from the 7th to the 8th. Meanwhile, the bass moves from the 1st to the 7th, and the 2nd to the 1st respectively. Here, I varied the roles somewhat. However the basic outline is there. Bars 13-16: This is a Prinner, which presents a step-wise descent in the upper voice from 6th degree to the 3rd, whilst the bass moves 4-1 respectively. The former is played by the clarinet, however, with 7-6 suspensions. Basically, in accordance with the Prinner, the upper part descends in thirds with the bass. The bass as it does here also moves from 2-5-1 to present a convincing cadence as a standard. Bars 17-24: Here I deviate to the relative minor with suspensions over a dominant pedal in the key of B Minor. The oboe, similarly to the prinner, is descending form the 6th to the 3rd of that key, with a suspended 4th above it. However instead of resolving on the 3rd, its stops on the 4th which enables the music to return to the dominant chord of D Major. A perfect cadence in D is then prepared however the sharpened A, resolving to the B, momentarily returns to B Minor. Bars 25-29: This is Prinner, which is an elaboration of bars 13-16, which prepares for a long cadence in the key of D. Second Part Bars 30-33: Primary subject with some variation Bars 34-37: Responds with Prinner, thereby resolving the opening with a perfect cadence. Note that the cadential flourish in the upper voice descends from the 7th to the 1st degree. This is a common type of cadence used during the second half of the 18th century, which we refer today as a Cudworth cadence. Bars 38-41: This is a Fonte, which presents a convenient digression to the subdominant minor before returning to the home key of G. In its basic form, in the minor key the bass ascends step-wise from the 7-1, whilst the upper voice falls form 5-3. This movement/phrase is then repeated a step lower. Bars 42:46: This is an Extended Prinner in the key of G, which provides a useful opportunity for imitation each part. The music then modulates to the subdominant of C. Bars 46-49: This is could be treated as a Modulating Prinner, transitioning to the dominant of G, as again, there is initial step wise descent from the 6th of that key in the oboe part. However, the phrase ends on a converging cadence towards G, which provided a link to the second subject to return. The rest is essentially repeated, with exception to some added imitation towards the final long cadence from bar 66. I suppose this could be considered a conservative piece, in the sense that for the most part it adheres to some of the more common type of schema from this period. However, I do note that my music has a tendency to be idiosyncratic between baroque and classical influences. I suppose this is a reflection of my listening habits, which generally ranges from 1720-1790. My intention here is to ignite a topic on this type of music, as it proves a fascinating subject for those who love classical music, whilst offering an informed context on the traditional musical enterprise which underpins the great works of that era. Thanks for reading.

Composition completed on 10/13/2019 You also can watch this piece here -

Noah! I’m excited to hear your music, I haven’t heard your work in a while J I’m listening for the first time and doing my comments now while I have a few minutes, but I’ll come back and give it a listen again later for sure – so what you’re getting is my first impressions. Not sure when I’ll have time to come back and listen again, so figured I’d comment early rather than super late…….! Here goes! I. I love the stylistic turn you take after the initial statement! If possible, turn down your piano in playback, or find a way to make the block chords not so prominent. A live performer would have no problem playing it appropriately, computers though… Technology! There are ways to adjust note velocity in most music notation software without too much trouble. I just recently learned about that. Anyway, a good movement. II. Wow! Quite longing and emotional. Reminds me of day dreaming about a place or person you miss dearly. Would feel right at home in a love song on stage. III. Ah, Espana! Good interplay between piano and soloist. Effective! IV. Good chord at 0:14, 0:20-2:35. Interesting harmonic choices, it works really well for the supporting harmonies. A few odd intervals for the melody, but nothing obtrusive. A strong movement for sure, deserves a second listen right now and more comments. What would I change? Hm. What if the piano took over the melody more? Think like trading fours in a jazz band, one player goes then hands it off to another player and so on? Also nice transition at 1:00, I missed that in the first listen! V. Feels final. I like how you’re mixing not only the styles but the harmonic exploration, juxtaposing them together. That’s creative, I don’t think I’d have thought of that (I know I didn’t in my own piece!). A very appropriate ending. Couldn’t ask for anything better! Overall I love it! I’m out of time here, gotta go, but I hope you’re pleased with it because there’s some really good writing in here. J See you later! Gustav Johnson

Nope, they must be reversed. I mean, yes, they're reversed. I wanted the stronger sound.

@Monarcheon, gotcha. The cello is from Spitfire Audio's Solo Strings collection. The piano is actually me playing on a keyboard to a Studio 7ft. soundset by Ivory Synthogy. (I also played the cello on the keyboard—for a couple of the pieces. But the timing was really, really hard to match up. So I ended up just using Sibelius.)

I would love to tell you that an artist and suffering can exist apart from each other, but I'm not sure they can. We create music because, in some strange way, it allows us to express our sufferings, our experiences in the only way we can find release. (That isn't to say that all music is sad and melancholy, of course. But the songs I love the best are soulful and speak to my own sufferings.) Every oyster has to eat dirt before it can make a pearl. I'm thinking your pearl from this experience is going to be beautiful, indeed. And as far as being a "substandard programmer," have a look at how many composers had day jobs: https://www.classicalmpr.org/story/2016/09/16/composers-day-jobs You're doing this thing called life very well. Sure, you've had some setbacks. Now you're taking some steps forward. We're all a mess—but we're a beautiful mess. And each of our messes makes us who we are. Keep it up, and try not to compare yourself to other people. Because, after all, you are the best person at being you.

@Tónskáld I wasn't truely alerted by your question until I read your description of Aldor: I think I create a new mode everytime I write my music... I seldom rely on the common mode like Lydian modes... And perhaps your use of Messiaen's mode and your unique use of harmonic language enriches this work! I love the ambience you created here. It is also interesting to see, despite some similarities in the motives we chose, the outcome can be so different and I greatly appreciate that! 😄 Well done!

I found the theme elegant and tranquil:) I also like how much contrast you bring in between Movement III and IV - The first, as a dance (?) is energetic and nostalgic while the Adagio have some cool colour changes! Nice work, @Noah Brode!

There's no reason you couldn't have made a solid submission out of this, it sounded really cool! You should have posted a link to the submissions thread, and added a score! Maybe you still can since technically this was uploaded before the deadline passed?

Thank you @Tónskáld! I have to say, I'm a little surprised at the love for the mazurka. I'll have to remember to resurrect some more funky old dance forms next time 😅 I have reviewed a couple of the other submissions so far tonight, but I am dead tired and need sleep right now... I'll review yours as soon as I can! I listened to the first movement and it sounded great -- really powerful. I think you'll be in good shape. More to come!

I really liked the Adagio, but they were all so elegant and well-done! The mazurka was a close second... And I'm right there with you about wondering if my submission will hold up against the competition. Y'all have churned out some really, really cool pieces!

That was quite a journey! After listening to that I really do feel as if I got drunk, was conked on the head, hospitalized and nearly died! 😋 Jokes aside, this is so interesting! I love the version with the effects, it really completes the experience. Now that I've specified a favorite part on multiple submissions it feels like I have to keep going. Fourth movement takes it for me! Great work, Gustav! This is such a creative entry!

well, i shouldn't say not supportive, he does listen to my music and tells me it is garbage...... Its whatever, I tend not to listen to him anyway, thanks for being my moral support!

Oh, please... they're moody through and through. Seriously moody. I'm glad you enjoyed it! I hadn't used those scales before and now I'm quite taken with them. And I liked Gustav submission, too. Quite a different flavor from the others I've listened to. Very refreshing!

Really enjoyed these. They sound like different scenes of the same film, conveying different moods but maintaining an overall sense of unity. The primary rhythm was definitely very catchy, almost reminiscent of a rock 'n' roll beat, especially in the fourth movement. It reminded me of The Beatles in a way. Very impressive to orchestrate for a larger ensemble on limited time for a tricky challenge. The harmony got more and more interesting as it went along, particularly in the last movement. Really well done!

This is so moody, I love it! Maybe moody isn't the right word since you've clearly gone to some lengths to write something rather serious, but what I mean is that I like the atmosphere of it. I'd never heard of these scales before, and they're pretty interesting. If I had to pick, I'd say the second movement is my favorite! The whole thing is pretty amazing though. It's completely out of this world to me. Awesome job! I'm about to go listen to Gustav's submission and I think I saw the word 'drunk' somewhere in the description when I opened up the tab earlier so I'm anticipating some outright goonery over there. Here goes!

I'm so glad that I'm not the only one who posted at the last minute! I agree it was quite a challenge, but I'm glad you made it. I loved the third and fourth movements! The energy and rhythm of the mazurka was right up my alley. The adagio was so colorful though, especially at measure 159! Loved that part and wished it had gone a little longer. Oh well. Those were my favorite parts!

Just listened to the whole thing... and I must say, I loved it! The rhythms were so catchy and the orchestration was very well done. Definitely be humming this to myself tonight. This is good stuff, KJ! I'm glad you were able to share this with us.

Wow, that was really impressive! I love brass ensembles, and your piece capitalized on the bright and brassy sounds. Great job! I hope your piece is well-received!

The Danny Elfman vibes here are strong. Congratulations on your job, mate. It genuinely sounds amazing.

You still have today and tomorrow... please finish this out! It sounds AMAZING. (I don't know why I'm encouraging the competition. Mayhap I'm the crazy one.)

This is an extremely broad question.

Wrote this last night, I'm kind of excited about it. Anxious to hear what you guys think.

Hi DanJTitchener. Sorry to inform you but all works posted prior to the April-May 2016 renovation of this website have been deleted. I had posted 181 pieces. But fortunately I had backups on my PC of everything I had posted. I hope that you had backups too. If you don't have backups, contact chopin and he might be able to send you some of your posted pieces from his own backup.

Composition completed on 08/14/2015 You also can watch this piece here -

Very Nice. I am very interested to learn more about your work Oscar - perhaps we can discuss this together in greater detail within a certain channel.

Nice piece. It's the kind of work I listen to from time to time when I think mesmerising is going to relax me. The motif repeats itself continually aside from a break at about 1'18", with variations in the instruments either side of the piano. It comes over as "minimalist" (like Philip Glass or Mike Nyman), a well-established genre. In fact if I may be so bold to suggest looking up a track on "Glass - Organ works." track 5: Satyagraha. (The chunk on Amazon does it no justice) and while melodically very different from your work evolves in a similar way, almost 10 minutes of it. Well done.

Cool. Well keep it up. Everyone starts somewhere!

Your planning looks great, however your execution of it feels repetitive and "uninspired". Don't get me wrong, inspiration is a very abstract concept, and it's not about being "blessed" with ideas and concepts as in the romantic fashion of conceiving it. However, I feel like you aproach music as if solving math problems, which makes up for great explanations of your piece, but not much emotional content to back it up. Try composing something without planning everything you do and actually getting a closer view to the themes/harmonies. I know it's not much of a help when it comes to this piece, but I feel it applies to all your other works aswell. Best wishes, Jean.

Just recently finished my piano piece titled "Walking on G." It's like a mellow mesh of Erik Satie & Arvo Pärt. Would love your guys' feedback on this!

Woke up early and composed this. Kind of going for a zany, unbounded effect.

A little piece I made a while ago.

Your works are impressive. Nicely written. I love this kind of music, the march here is beautiful and serious. I respect the taste of every composer, and I think you feel comfortable in this post-romantic language. However I'm always looking for different harmonies or systems, or whatever in contemporary composers. Anyway, I'll keep on listening to your music.

Good try aMusicComposer! I like your melodies, & the violin sound is awesome! Keep your good work! :)

Pro Tip: Keep all your stuff backed up yourself; and keep backups of your backup. Don't rely on any one place to keep your work, let alone a site that's certainly not dedicated to being your storage locker. Just sayin'... any lost files should be a minor inconvenience at most.

In the Musical Games forum, somebody suggested the idea of having a group write a piece, where each person writes a specific part, and only that part. If the host says, let's write a string quartet, everybody writes their own part to it, one person writes 1st violin, another writes 2nd, another writes the 'cello part, and so on. I think it's a great idea, but unfortunately I won't be able to partake in such an activity until furthur notice.