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Hello there! Here is the latest installment of preludes, no.16. This one deals with a lot of two voice counterpoint and a relentless ramble on one theme. As a personal side note, these have been a lot of fun to write, and it's been great simultaneously writing a bunch at once. I had a sporadic burst of ideas when I started this one, and it lead to a lot of spread out writing. I guess what I'm SAYIN' is... more to come! :D Thanks for listening and reading... any comments of any kind are welcome! P.S. some of those tempo markings are to mimic rubato, dunno I suck as an editor Prelude No 16.mp3 Prelude No 16 - Score.pdf

i love the texture in this. its very subtle but it goes really well with your description! it is imaginative in a way that i could visualize the imagery. for example the gusts of winds starting on b.28 using the dynamics, or the rain on b.52. the beginning usages of harmonics to represent the clouds and the subsequent ones are also pretty cool the string writings are lovely in my opinion, in the way that you took advantage of the different individual string timbres of the quartet. those low C string cello notes are powerful and prominent, especially on b.48 where, i think, it indicates the start of the "wall of rain" section contrasting the high register notes of the preceding section and finally, im fond of the way you use the variety of dissonances and added notes, it feels very effective and not over bearing that you're drowning in a chromatic porridge Melodies Themes Motives 5 Harmony Chords Textures 9 Form Development Structure Time 10 Originality Creativity 10 Score Presentation 10 Instrumentation Orchestration Playability 7 Execution of Given Challenge 10 Taste 9 Average Score: 8.75 final note: its peak.

Hi Sam Yes message any Vocals over to personal messenger, and ill add them to the mix, youll be surprised ! But please Sam .......Nows the time to stop smoking. xxx

Hello, I'd like to share my new project - an organ mass for an actual use during a catholic mass. This Offertorium is the first completed part of this mass. I plan to compose this mass in the 19th century french romantic style inspired by small liturgical pieces by Boëllmann, Lefebure Wely and Guilmant. The remaining parts - Entree, Communion, Sortie and maybe an additional one will come soon. Thank you for listening (link to the video of me performing this little piece). Honest opinions are welcome :) Offertorium.pdf

Of course there are those great organ sonatas, but this is like something he would have improvised in church.

I wish.🤣 I have written good piano pieces. So did Chopin! I REALLY like this, though, so I guess I'm the producer; shilling this guy's work. largo Free Sheet Music by for Piano/Keyboard | Noteflight

Nope. Just stumbled upon it in NF and it was really good, so this thread was just me shilling someone else's work!

Same here!

Nice. I found a sneaky way to transfer from Bb minor to B major.

I think what you mean by the transition in the first theme is the D F# G# whole tone chord (one could call it an altered version of the dom.7 in A Minor with the F# being a ninth) on the last beat of m.4 , the suspended F natural in the violin, and the enharmonic modulation, the G# becoming Ab in Ab Major. A sneaky way to get from A Minor to Ab Major really fast!

For some reason, I can't seem to edit the title on the link to Noteflight from "ba" to Bagatelle. I could unpublish and republish it, but I guess "ba" will do.😃

Hiihiiii!!! This is my submission for the Spring 2026 Landscapes Competition :) For my landscape, I've chosen the mountains of Zhangjiajie, China. The first time that I saw these mountains, I was awestruck by just the sheer scale of them. Massive peaks and towers, overgrown with centuries-old moss, reaching beyond the clouds. Really just gorgeous. I wanted to try to write about them. The piece starts off zoomed outwards, depicting the sparseness of the clouds, until eventually, a melody begins to creep towards the first real theme--which I call the garden theme. The focus is on the garden now, zoomed in, it's a sort of natural oasis along the side of one of the tall mountainous pillar. It's beautiful, lush, full, until the garden begins to die as winter comes. The harmony because sparse and vague again, with large spontaneous gusts of wind... just very dry sounding overall. That is, until months later, the clouds darken, promising a heavy storm. Anticipation builds, until eventually, rain comes pouring down, so densely that it's almost like a wall. It's the first rain of spring!!! After the rain settles down, the garden comes to life again with the re-entry of the garden theme!! The piece ends as the focus zooms back out onto the clouds, and the tension finally resolves again. My goal with the piece was to try to represent the life cycle of the plant life out in the setting of Zhangjiajie. I hope you all like it !!!! AmidstTheCloudsAndFlowers.mp3 AmidstTheCloudsAndFlowers.pdf

Wow! Just wow! This is such an honour - I am out of words! Those arrangements are absolutely incredible! Sorry for the late reply, I was actually hospitalised for the last week due to some stomach complications that left me incurred with a lot of internal blood loss. As for the vocals in my version, they were actually generated using a vocal synthesizer and not my own voice - so if you wanted some authentic vocals to mix, I’ll be sure to send them once I recover. Or if you wanted to use the vocals I generated for my version, I can send that to you as well. Anyways, it is a tremendous honour. Absolutely loved the orchestration that you put forward!

On The Good Ship Lollipop Imagine being born in 1934 https://www.youtube.com/watch?v=0Q7ybTGzaHQ&list=RD0Q7ybTGzaHQ LOLLIPOP 1934 VERSION- - Rendition - Cover.mp3

Hello! This one of my pieces with lesser compositional quality... It was a very fun piece to work with so im posting it here too, just for the sake of it. Its for organ or harpsichord, in this midi recording its for organ wich i think fits nicely with the more contrapuntal style of this piece. This is a Fantasia (Back in the renaissance and early baroque era, the genre of the fantasia was just a broad therm for anything improvisational or without a structure) wich i used a renaissance popular tune called "La Bassa Fiamenga", You can find this melody extensively on various pieces of that time, and its one of the lesser known ones. Enjoy! Fantasia sopra la Bassa Fiamenga (2).mp3

😯 Wow... This piece really transported me there. Therefore an amazing submission, outstanding work. You seem like you may be a string player with your preference on hand position, and your pfp, but I still must say, this is some very difficult music to play. If I were to find out that a chamber group was going to play this, my first question no matter the group, would be if they could pull it off. But if I trusted the group, I would NEED to hear this.

Very nice! Reminds me of Mendelssohn.

The competition is open to nationals of all countries. It aims to enrich the symphonic repertoire, particularly for youth ensembles, while discovering new talents and fostering exchanges with experienced composers. It also seeks to draw attention to the importance of water as a vital and universal resource. The theme of this edition is “Water in All Its Forms”. There are two categories: one for candidates under 30 years of age (born after 31 March 1997), with works lasting 6 to 8 minutes, and one for candidates aged 30 and over (born before 31 March 1997), with works lasting 8 to 10 minutes. The selection process will take place in three rounds. The first round requires a sketch of the score (with audio recording); the second round requires a complete score (with audio recording); and in the final round, the selected scores will be performed by a European youth symphony orchestra. Prizes totalling €20,500. Seven prizes will be awarded: in each category, three prizes (€5,000, €3,000 and €2,000). In addition, an Audience Award (“Coup de cœur”) of €500, common to both categories, will be given. The registration fee is €50. Entries must be submitted by midnight (CET) on 31 August 2026. Candidates are invited to complete the registration form (https://forms.gle/Vn9XSMQcN4VoDnV59). Afterwards, a link will be sent for uploading the required documents. For more information and the complete rules, please visit: www.eurochestries.org Email: composition@eurochestries.org

Hello everyone! This weekend I experimented with a really simple atonal technique and I turned the experiment into this piece for piano. The technique is "mirror writing". I applied it in the simplest way possible. The process was the following: 1. I decided on using four voices and mirror them around the middle C axis. 2. For each melody note, I added the mirrored bass below it (for example, a top note A is accompanied by the bass Eb, both a major sixth above/below middle C). 3. After that, I chose both internal notes (considering that those need to also be mirrored against each other). Except for two measures, the whole main theme was created through that technique. Afterwards I composed a tonal middle section and turned the piece into the form ABA'B'A''. This time I tried avoiding excessive exact repetition (with techniques such as changing octaves, creating different melodic contours and accompaniment, or mixing final restatement of main theme with the coda) in order to add some variety to the whole. That is because I tend to just copy and paste most of my sections and I want to get rid of that habit. In addition, the first measure copies the beginning of Schubert's Impromptu No.1 in C minor. As always, every feedback, comment or suggestion is more than welcome and hope you enjoy it! Thank you! PD: My main concerns are in m.39~40, where I change the ending of main theme making it maybe too dissonant, and the fact that the first time that I introduce the B section (m.13) I do not use the continuous tresillo accompaniment.

A few days ago, I wrote a very short piano work for my brother's birthday, which is not something I normally do. I realised early on in the week that I had not yet got him anything and decided to write and put together a music video in one day, as one does. Of course, I paired it with some colourful lyrics to express my utmost brotherly love and affection for him (translation: extol his persistently annoying behaviour and call out embarrassing moments in his life). To my surprise, he did enjoy it more than I thought he would, so that was a success! I've removed the lyrics for seriousness' sake in the PDF, but I hope you'll find something of interest in here. As usual, I am also always looking for feedback and ways to keep chipping away at my pieces even after I've written them. Are the two main themes different enough in character? Does the form feel awkward or bloated? Anything else of concern or note? One thing I will admit is that I probably should not have notated swing entirely with triplets, so that's something I've started to fix up at the moment... Promenade (2026).mp3 Promenade (2026).pdf

Wow! I actually think this piece has many qualities that make it a convincing imitation of this french baroque style, so overall, very well done. Some things I want to praise is your use of ornamentation, the tempo and time signature changes in the Passacailles, solid structure, your use of the same dotted rhythmic motive throughout both movements, and occasional, but functional dissonance. There are some sections in your piece where I think that, despite this "lute" style of French Baroque you are going for, even in the non lute sections, some of the intervals are too wide (like E4 to Bb5), to the point that even if they could be rolled, or even shared by both hands, they could be slightly unidiomatic, especially with all of the ornaments going on and the different voices, so just something to think about. Another thing I want to mention, is the lack of articulation. Sure, you have ornaments, but surprisingly, as opposed to Bach's music and other baroque composers, this is actually pretty common for the French Baroque tradition, leaving it up to the performers. Overall, I think this is a great imitation, I think you did a wonderful job on this experiment, and I look forward to see where you take this piece moving on!

Hi Sam You have created a very strong melody within this track, and its quite adaptable to different versions too. Created 2 Cover-Renditions of it in a "Vienna-Strauss" + "Hollywood-Big band" sound be interesting to hear your vocals with these versions, easily done, if you want to send them to me via personal message, and ill mix them into the alternative version, i cant read music , so this isn't 100% perfect, but an alternative-version, to your Great Song. I'll TUCK MY SOUL IN CORNERS DEEP - Vienna-Strauss - Version.mp3I'LL TUCK MY SOUL IN CORNERS DEEP - alternative BigBand Version.mp3

rondo movement written in one hour Free Sheet Music by for Piano/Keyboard | Noteflight

Calling all student musicians! I wanted to share a music opportunity for anyone interested in performing virtually. A student-run nonprofit I’m involved with (Musical Memories) is organizing an online concert, and we’re currently looking for musicians who’d like to participate. This virtual concert is a partnership with Blowing in the Wind, another nonprofit dedicated to fostering cultural exchanges between students. We're looking for musicians who perform more traditional music, either from their cultural heritage or a unique genre of music they're learning! Accepted participants will submit videos along with a brief explanation about their story in learning that specific type of music. 🎶 🎻 Virtual concert details can be found below: Online event (YouTube livestream) Will take place on Sunday, October 26 ~5-10 performances of ~5 minutes long The sign up form can be found here, which has more logistical guidelines/info. If you have any further questions, feel free to reach out to blowinginthewind.youth@gmail.com, or musicalmemories2023@gmail.com. Please sign up as this is a wonderful, unique opportunity for musicians of all backgrounds and skill levels!