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Anna's Lullaby was the culimation of an instrumentation challenge posed to me by @MK_Piano , and a Piano Chord Progression & Motif that I came up with during my down time. It elicited, to me, what felt like a lullaby, or, a loving embrace. Which reminded me of one of the Family dogs that we had, growing up. Her name was Anna. She passed, in recent years, due to her old age, and she was one of the most memorable parts of my childhood. So I've dedicated this score to her memory. I feel it lays her to rest, in a careful and loving way. Feedback is welcomed! -Unc Updated - Added Oboe part, adjusted Harmonies, fixed Piano Ped. Mark Engraving. AnnasLullaby.mp3AnnasLullaby.pdf P.S. Here's the most recent photo I had of Anna. I wish it were a better one. It's a screenshot of a video I took of her giving me a "5" or, giving me her paw. You can see her age in this photo. She was 17 when she passed.

Hello dear UncleRed99, This is a wonderful piece. Since she lived to be 17, she certainly had a long life. Of course, I hadn't heard the piece before, but it has a lovely, nostalgic quality to it. It’s not nostalgia for a specific place or time, but rather the kind that comes from looking back on cherished memories. It has become a beautiful memory paired with a beautiful song. Your work is always so gentle and warm; it brings a sense of comfort. Thank you for sharing such a wonderful piece and your memories. Rest in peace, Anna. Best, Lithl.

Ah, thank you for teaching me a new concept @PeterthePapercomPoser . I always just thought of that chord in question as a special dominant chord that is just a half step above the actual dominant chord, so in my mind it was flat because I saw it as a C7 chord, if that makes sense :) I think I see the logic of having it as a A# now. It's kinda neat how depending on the genre, can be seen different ways. Sorry @Martynas123 !!

Hello, It's so wonderful. I don't know why, but the part at 4:08 sort of feels off, like it should go on for a bit longer. It probably wouldn't be the case with an actual human performer vs MIDI file though. Maybe it's more of a performance thing vs compositional thing. In the Coda at 4:36, it sounds very familiar. I can't quite place it...probably a wonderfully sounding cliche that many greats have used before you? The ending has such a nice flair to it. That chord at measure 236. I wish I could give you a chef's kiss for that one. So elegant and wonderful and a bit bittersweet on top of it all. I like the choice to break with the RH pattern you did for most of the piece and just go at it hard with those wonderful consistent 16th notes in the RH. So whole piece feels like eating a lot of delicious sweets. It sounds/tastes so sweet, it can't be good for me if I listen to it too much right? ;) Anyways, those are my thoughts... I wonder what you had in mind when you were writing it? P.S. The notation looks beautifully done! So much attention to detail :).

I've just finished revising and completing my arrangement of Isaac Albéniz's España (6 Hojas de Álbum) for string orchestra. I hope you enjoy it! Any feedback is very welcome. 1. Preludio.pdf

ʜᴇʟʟᴏ, ɪ ᴊᴜꜱᴛ ɢᴏᴛ ᴀ ɴᴇᴡ ɪᴅᴇᴀ ʙᴇᴄᴀᴜꜱᴇ ɪ ᴡᴀꜱ ᴀᴛ ꜱᴇᴀ ᴛʜᴇ ᴏᴛʜᴇʀ ᴅᴀʏ, ᴀɴᴅ ɪ ᴊᴜꜱᴛ ɢᴏᴛ ᴀɴ ɪᴅᴇᴀ ꜰᴏʀ ᴛʜᴇ ᴘɪᴀɴᴏ ᴘɪᴇᴄᴇ " ᴏᴄᴇᴀɴ". ɪ ɴᴇᴇᴅ ꜰᴇᴇᴅʙᴀᴄᴋ. (ℝ𝕖𝕔𝕠𝕣𝕕𝕖𝕕 𝕨𝕚𝕥𝕙 𝟙𝟠𝟚𝟞 𝔾𝕣𝕒𝕗 𝕡𝕚𝕒𝕟𝕠) Jura (Ocean).mp3 Jura (Ocean).pdf

Hi @Grant Weep ! Thank you for your feedback, and I am glad that you enjoyed the piece! I did consider extending the cadenza-like passage in measures 198-203, but ultimately, I needed to return to the main theme without making the transition too bland. That's a fair suggestion I will keep in mind in my future work – transitional passages are the hardest to manage in my opinion. Well, this section is actually a reprise of the slow A-flat major theme in E-flat major! I reused the melody in the coda to make it more memorable; otherwise, it would only be heard in the middle section. Hmm, that's a difficult question to answer. I can't really put it into words, as I wrote this from the deepest depths of my heart. All I wanted was something that sounded harmonious, would resonate with my listeners, and, most importantly, would feel great when performed. That has always been my philosophy of music composition. Thanks again for listening to my piece – I really appreciate it!

Lovely sentimental work. I loved the bassoon solo in the beginning! Mark

With respect to tempo/breathing etc. - the oboe part is NOT well thought out at all. You really need to learn about the strengths and limitations of instruments and players; whether you write for woodwinds, brass, strings or percussion. Best to talk to players and show them the score and learn from them. <ark

Ohhhh.... The Double -Barrel Big Guns !...very nice.....no wonder it sounds so good.......That will create alot of Inspiration

Regarding playback sound, I use Nucleus / Audio Imperia Flute & Clarinet, MuseSounds Bassoon, and Spitfire LABS Reverberant Ribbons Intimate Piano. It's just utilization of VST3 plugins to get that realistic playback sound :) Thank you for your kind words. I have more I have thought I want to add to this piece. Stay tuned, if interested. :) -Unc

What a Lovely little Doggy, immediately made me cry. I think some doggy's have a spirit that can be seen beyond the Fur The love they possess can be seen in certain characteristics , wagging their tale when they greet you excited about being taken for a walk, and of course Dinner-Time That kind of spirit can't be embodied by a mere human because its Far to PURE. Regarding this composition , i did previously say that your " Best is yet to come" And this is the first one, and the start of many more... perhaps your getting Guidance from someone, with the letter "A" ? --- The whole composition sounds like its being played by REAL people Because every Instrument sounds so REAL ! I dont know how you did this, but its BEAUTIFUL , just like Anna x

Thanks @Grant Weep for your review of @Martynas123 's piece! I would argue that the spelling of the chord in measure 12 is correct with an A# instead of a Bb because the function of the chord in question is a German Augmented 6th chord. The augmented 6th in question is between C and A#. In this type of chord, the C is expected to resolve down to B while the A# resolves up to B. One could argue that its function is similar to a tritone substitution dominant 7th chord which would in fact be spelled C, E, G, Bb. However this type of spelling is used in jazz music. In the classical period, the proper spelling and function was quite different from its conception in jazz.

Hello, I liked the galloping momentum of the song. And just when it sort of settles in and I'm banging my head to the music...the atmosphere change at 57 was unexpected and pleasant. Around measure 92 to 100...best part of the piece in my opinion. It sounds...almost kinda jazzy, but not really, I had to try it on the keyboard for myself. Where did you get the idea from for this part? While you did not ask for feedback on notation...I found that you would do this thing where you wrote A# instead of Bb and it made it hard to follow the music in the beginning. If you wanted other people to read your sheet music I would recommend looking into that. The first instance of this occurring at measure 12 in the right hand, I would replace the A# with a Bb

I am not at home, so I will do it as soon as I get back. I am pretty sure I had section breaks...