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

Hi my dear readers, it's me again. I don't understand many things here, but first things first. Imagine that I say this piece is evidently made by AI. It would be very easy to prove me wrong, @Vonias. Instead of submitting .mid files, a better, more detailed description of the process you followed would have clarified all posters here of what you did and what you have not done with it. Personally I don't care a single bit about that but we'll get to that point later. Please, consider that you are in a place filled by trained & experienced musicians and some of us have passed hundreds of hours listening to pieces just to give feedback out of either a brief or a more in-depth analysis. For some, not specifying that you were helped by an AI to make a better recording of your work and ambiguously describe it or talk about it with phrases like: may very well lead to confusion and even anger among others who consciously decided against using this tools in order to participate in an event in which ultimately your compositional ability is what we want people to show off, review and comment. Various AI tools exist to "help" with that recognition, but they are still in beta (mostly) and their own creators advise against using them as reliable methods. I took the liberty to pass the audio to some, despite you confirmed that the recording is AI: It basically says "Pure AI" 90% and provides a model. Tell me —if you want— if it hit it, this will make this developer's work better. But the thing is that you say everything else is not AI-generated. And this is where we get into trouble here. There are two different pieces here. A pdf submitted along the creation of the post that has little to do with the final mp3 you provided and the score that apparently resembles the mp3, according to you, 1:1? What's exactly the relation between the first and second scores? I can see some, let's say "adventurous" chords in the first score but not that many in the second. First score is half the size, begins with a different voicing. Rhythms don't really coincide, lyrics rest at different places "angel____ vs. an-gel cries___" . Midis are all over the place but you can clearly see the difference. Just pointed out some. What @AngelCityOutlaw is pointing out is mostly in the right direction but: That would not work. You need a seed too. If you do that yourself twice with the same material (and without fixing the seed) you'll get different things if you don't specify the same seed to the model, whatever it be. It happens with music, but also with LLMs and Image & video generators. And there are various tools to treat, import and export midis. Generating high-quality products using it is a whole 'nother story yes, but we ain't talking about one here, this is a <1 minute composition. Finally let me tell you that I don't mind if you just made the whole thing via AI, a part, or whatever. I would prefer you and anybody else in that situation to be honest and clarify things from the beginning to the rest of us who most likely are prone to and will have a listen to your piece, perhaps even giving some also honest feedback in exchange. Regarding that, the audio doesn't seem quite fitting. The strange autotune sound that the AI apparently gives to the singers sometimes and the strange cuts in vibrato feel off. The piece lacks development but it's a short "poem" more or less, right? For more info on this topic of using AI to make/export/import music on many formats, an AI that I have enslaved using a rectangular plastic card that spits money, may show you the way. Or maybe not, who knows: https://www.perplexity.ai/search/can-suno-or-similar-programs-e-2dN_8OipSNCC93.FtFGJoA?sm=d#0 Perhaps I'm late to the party, but these are my two cents. Sorry for my possible typos in advance... I am too sleepy. Regards!

Greetings all! Hot off the presses, here is my latest piece, my Oboe Quartet in D, for Oboe, Violin, Viola, and 'Cello. It's in four movements and lasts about 17 minutes. I don't have any accounting for why I decided to write this piece. I was just sitting there one day after I finished a Divertimento for woodwinds and had let some space come between - several weeks without writing - and the idea for the opening movement came to me out of the blue. I started writing, and it came pretty easily. The whole thing took about a month intermittently. I'm a violist, not an oboist. A couple of weeks ago I made a post asking for some guidance as to the limitations of the oboe, and got some good answers. After doing some research on my own additionally, and checking with a friend of mine who plays Classical Oboe, I've made some calculated demands in the upper register of the instrument that I'm hoping won't be too taxing on a Classical instrument. It certainly should present no problems to a player on a modern instrument. I did my best to provide reasonable opportunities for breath - the last movement being the most demanding in this way, but circular breathing may be a good option - as well as quite a number of rests to allow the player to rest his/her embouchure. I've done my best without selling myself short, and I hope it shows. I hope you enjoy this. I look forward to your comments. Thanks! - Composed: November 13 - December 6, 2025 at Austin. - Instrumentation: Oboe, Violin, Viola, Violoncello. - Style: Classical, ca. 1790-1800 - Duration: 17:15 - Electronic Rendering by Finale 27 music notation software’s "Human Playback" with NotePerformer 4 artificial intelligence assisted interpretation.

I'm withdrawing my participation. Competition or not, if you're putting on essentially a display of music created by members and also giving out site badges for them, then I feel that music should actually be created and produced by the members of the forum. I want my music alongside other human-created works.

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

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

I am in 🙂

ill join.

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

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

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

hello peter, I am interested in joining as well

yeah :D

Also something else I need to say about this: So I, and others, can put in hours of work writing the music, orchestration, making detailed mockups, etc. but a guy who writes a Suno prompt and has a "piece" in 5 minutes is treated as equally-valid in this event? It isn't actually even his music. Where is the "fun" in that, exactly? Why even bother? You guys say you want more people to do reviews. What your reviews are going to become if this kind of thing is permitted is a bunch of people being like "Nice prompt bro, but I would've said 'romantic soaring strings' instead of 'cinematic'".

I'm sorry Mike, but you guys folded like a cheap suit in a matter of minutes. You give these AI bros an inch and they'll take 3 miles. What is to say you won't fold the same when it's not "just for fun?" Aren't all of these "just for fun" in some way? And people will bring up that "Well you accepted AI that time!" Is this a place for composers, or a place for grifters passing off AI music?

@AngelCityOutlaw, this is a just for fun event which is why we are ok with the submission. Also, Vonias is being very clear about his submission being AI generated or assisted. We'd love for you to be a part of this event, but of course its up to you. You can change your mind any time, we just want to keep things festive and fun on YC!

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

@Kvothe Very cool! Loved the exposition. Especially got a kick out of the col legno in the lower parts, and the Dies Irae quote gave me a chuckle. You did leave me wanting a more definitive ending, but that's okay. Awesome!

Greetings Henry. Indeed I had expected the similarities between the primary subject of BWV 1080 and the ones used here would end up seeming far too glaring. Perhaps it may serve as a testament to the versatile simplicity of this kind of subjects, whence far greater complexity may be properly built upon. In any case, another fair reminder of Bach's genius and the omnipresent influence of his fugal developments. With that out of the way, I must apologize for not replying sooner with regards to the recent calamity. I wholeheartedly hope none of your acquaintances were directly affected by the fire. I initially hesitated to properly dedicate it to the victims due to its magnitude and devastation, and especially because of the gruesome suffering, mourning, affliction and grief so many families and friends of the deceased must be going through, for which this humble composition of mine could never properly stand up to provide nearly enough consolation. However, I should have realized sooner that not acknowledging it at all would be far more insensitive and disrespectful towards the victims and their loved ones. As such, albeit rather late, the dedication has been included in the score document. My utmost condolences. 節哀順變。

What I said is that there is no way AI generated "just a recording" of his piece. When I googled, even when I asked ChatGPT, there is no AI presently that can generate an accurate — "1:1" as OP says — mockup recording. If there was, Spitfire would be closing their doors right now. He also says he prompted it. Okay well, do you actually believe he sat there and typed out an entire note-for-note description and it rendered it? If you believe that, then prompt the AI (he doesn't say which he used) and if you don't get the exact same result, then you know he's lying. I can't get Suno to generate a solo drone, never mind a precise multi-voice harmony for choir that is 1:1 what I'd write. What has most likely happened here, is he is passing off an AI generated track as "his" work because it fit the "vision" he had or something and is providing you with a transcription. Until someone provides evidence and can replicate this piece with the same prompts or software, there is no reason to believe otherwise.

Thank you.

@Kvothe Greetings! Thank you so much for reviewing my piece! I see what you mean about using treble clef more for the higher stuff instead of ledger lines. i do the same thing with high bassoon parts, and I should probably pay more attention to that. As for shifting positions as I've called for, I've written this piece more for a highly proficient player - not a virtuoso necessarily, but the equivalent of someone with a master's degree in performance - and what I've written shouldn't present too much of a problem for a player of that calibre. I'm a violist myself, and I can play this. I've also showed it to another violist, and he found nothing prohibitive about it. Thanks again very much!

Bump 😅

I What AI? I am unaware of any AI currently on the market that is capable of rendering sheet music as high-quality, "1:1" audio. If there was already such a thing, the sample library market would have imploded. But you said you "Prompted" it. Well, I'm similarly unaware of any of the major music AIs being able to deliver anything 1:1 based on a description. If such a thing existed, Suno and whatever the other big one is would already have been trounced. I tried to get these things to generate just a drone all by itself and it couldn't even do that, so I don't believe that, based on a prompt, you got an AI to deliver these complex harmonies and such "1:1" Absolutely no way.

this is actually extreamly impressive I have to say I do wounder how is that chopinish feel achived? because right from the start this feels like something he would write, and I honestly have no idea how you did that

oh that sounds wounderful honestly! now I'm a bit jealous as I am sixteen as well and I don't get close to your level but oh well everyone starts somewhere :3 I'll take into account your correction about the sharps and flats, and maybe I'll extend the piece when I have time, thanks 😄

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

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

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

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

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

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

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

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

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

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

For Good Friday. SAB and cello, or one hand of piano or organ if you don't have a cellist. Choirs always have a harder time finding tenors and basses than female singers, and the problem is worse right now, when so many older singers left due to the pandemic and haven't returned yet. So I thought I would write something with a baritone part that sits right in the middle of the male range. An actual baritone will have a few lovely notes on either side of the range that this is written, but this particular piece can be sung by a tenor without going too low, and also isn't too high for a bass. So whoever you happen to have in your choir, this should be performable, and in normal times, when the tenors and basses together are generally still pretty few in numbers, you'll get a nice balanced sound against the sops and altos. Any thoughts on my cello slurring, cellists? I played violin off and on, but I would love the take of current string players. John 3:16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.

Hi @Tunndy, Just beware of the parallel 8ves like those in b.1 between violin and viola (A-G), b.2 (F-G and F#-G!). And those dissonance of minor 2nds like in b.5 wouldn’t sound good as well. Henry

Hello folks! Been a little bit (always is a little bit between when I talk on here it seems) I've been hard at work at college writing all sorts of stuff, but amid all the music I'm writing and playing for school, I've also been working on a personal piece for solo piano. Dedicated to someone I love very much, the piece is an exploration of love. Movement 1 is the only movement written so far, and it is about passionate love (maybe I'll call it Eros. Still figuring out names or if I even want names for the movements.) I'll explain the movement's structure so you can maybe understand what I'm trying to do. Intro: It starts floating on an A dominant 7 chord, overtop of which soars a delicate but sometimes dissonant melody with huge leaps. It remains in this uncertain space a little while. Then it bursts into arpeggios and a fanfare-like triplet motif in F Major, gradually building more and more, before collapsing into the exposition. Exposition: The first theme in F minor is fiery and built from two motifs, the passionate right hand and the rumbling left hand. Cadencing in the relative major, the motifs then set off to transition to the next area. The second theme is in the distant key of D major and is a beautiful transformation of the melody from the introduction. A recurring turn motif brings the melody to its PAC and the closing theme commences with triumphant arpeggios (you will hear the inspiration from Chopin Ballade no. 4) but is suddenly overturned by D minor with the rumbling left hand motif of the first theme, ending the exposition dramatically in Bb Major!! Unlike I think literally all of my other sonata form pieces, there is no exposition repeat before the development. Development: In the soundscape of the exposition's closing chord, the developed introductory melody quietly emerges, again unsure, interwoven with fragments of the first theme. Eventually the second theme's rumbling motif takes hold, and a series of violent sequences commences. At its climax, it collapses again in a whirlwind. Out of the bleak, emerges now the second theme, in a hopeful manner, modulating from Ab Major to E minor, and finally culminating in the most passionate and beautiful variation in G Major, with repeated chords and heavy rubato. It reaches its turn motif and PACs in G Major erupting into the closing theme arpeggios, but now being derailed again, even earlier than last time into C minor! And now we're at the Fugue, based on the same rumbling left hand motif that's been so persistent in the development. After reaching its peak, it sequences a little more and is now in C Major and has successfully set up the dominant retransition to the tonic F minor! Recapitulation: First theme is mostly the same as before. The transition is however different and more "bravura" than before. The second theme tragically is now in F minor, and doesn't get its old turn motif to cadence, and instead prepares to close the movement in the drama of the first theme. But it's diverged! We move away from that extreme low register now into the highest register as we hear one last time the full second theme in F Major, much barer and more suspended, but again with its cadence motif. But it doesn't finish quite yet. It repeats the motif, before slipping back into an A dominant 7 chord for the coda. Coda: Largely an exact repeat of the introduction, but what was before a solid dominant pedal, is now broken up by the tonic in the bass, giving a more resolved sound. With no more burst into F major, the movement closes on low D Major chords. Now the reason I really want your guys' feedback is because I want to play this for the dedicatee soon, and I just want to make sure it's perfect before I present it to him. I did show the piece to my professor, but he said it sounded too traditional and suggested I listen to Sciarrino for inspiration 🥲 Let's just say I have different taste than him lol. The performance isn't perfect, and the score is very unpolished! But everything should come across pretty well hopefully. Thank you in advance! 😄

I've taken the Christmas Carol's "Angels we have heard on high" and "Gdy się Chrystus rodzi" (a Polish Christmas Carol which translates as "When Christ is being born"). I wrote two variations on this Polish Carol last year and you can find them here to become more familiar (if you want): There was some confusion in that thread about which Carol I was actually working on (LoL) owing to the fact that both of these Carol's prominently feature the Latin lyrics "Gloria in excelsis Deo". But that was basically the inspiration for putting them together in this mash-up. I painstakingly entered multiple stanzas of the Polish, English and Latin lyrics into the pdf score with all the correct accent marks and whatnot so let me know if it's clear! Thanks for listening and comments, suggestions, critiques or just observations are always welcome! Merry Christmas and I hope you enjoy listening! ☃️

Hi Peter, Really enjoy this one and it sounds especially calm when it’s much needed. Like Mike noted the two Melodies sound so well together just like any good counterpoint. Adding those flats near the end of each phrase really helps push the climax. Thx for sharing. Henry

Hello @J. Lee Graham: First, let address the technical issues. In the first movement, you have the viola jump from the jump positions a lot. This is technically hard for the player. You have E# in 3rd pos to 1st pos. It could easier, if this was you kept on the same pos. On a similar note, you can use the treble cleft when notes go to IV. It is easier to read without the legar lines. On the overall form, it does fit, with in the era you want to write for. Great job.

I also might not be able to complete it by the deadlines... Guess I will do the same as you.

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

Hello @TheGreatEscaper and welcome to the forum! I love this Mazurka-like prelude you've written! It has so much individuality and character! It reminds me at different points of both Chopin and Prokofiev. The chromaticism is very dark and ominous. The fact that you play your own works is great as well (and apparently you've already played @ComposaBoi's sonata as well! Great job and it's great to see this kind of interaction! You're an asset to the forum!) Formally the piece is a perfect little miniature. The melody sounds like something out of another world when it comes in on the 7th and 11th of the tonality - it's very subversive and surprising harmonically and anything but ordinary. And the accompaniment is like its own melody too that sets the stage for a very ghastly piece that would've been appropriate as a Halloween-themed piece. Thank you for joining us and for sharing this prelude and I look forward to listening to the others! P.S.: Thank you for posting just one piece into the forum to let the reviewers get just a taste of perhaps one of your better pieces instead of suddenly bombarding the forum with a bunch of music indiscriminately! You don't know how many composers do this and it really annoys the people who commonly review others' works here because we don't know which piece to listen to and it turns the forum into a dumping ground for works.

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

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

I'll give it a shot

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

I think the initial motif, consisting of one measure, is repeated too often (16 times). It then gives way to another motif in eighth notes that is also repeated many times. I don't think it's just a matter of repetition, but rather that limiting the motif to one measure results in a lack of musicality overall (there is no unity in the overall phrase). The cadenza suffers from something similar. On the other hand, there are some parts or moments where the writing is less suited to a real pianist than to MIDI-type sound. I think that if it were treated differently, in terms of accents and dynamics, it could be closer to a contemporary sound. Although the cadenza moves between a very classical style and a more naive one. In measure 85 there is a change, but the idea of the rhythmic ostinato remains throughout. The scherzo, in my opinion, is too fast. The trio promised a change, but the accompaniment is just as fast. At those speeds, which I don't know if they would cause fatigue in the performer, the musicality is lost (for me). I quite like the Lento, it has a predominantly quartal harmony that makes it very clear sonically. Some mega-chords in the left hand need to be rewritten using both hands. The change (transition) at bar 33 needs to be worked on, as it is simply an abrupt turn. The Allegro ma non troppo is also very good; it sounds very Mozartian. I think there are many different ideas, and a sonata is not just about taking different structures and placing them one after the other. Perhaps the complicated thing is to make it sound like a single thing.