Aiwendil

Thanks for the comments! Yeah, the retransition from D minor to A minor is one of the spots I was concerned about. I had originally written it with a B flat 7 instead of an F7 in the second ending. So, the A7 resolving by deceptive cadence to a B flat, which then gets reinterpreted as a Neapolitan chord to lead to the dominant in A minor. But the modulation sounded too quick and unconvincing to me, so I tried to the F7 (functioning as a German sixth) instead, but I worry that the logic of the A7 -> F7 is weak. I've listened to it a bunch and go back and forth on whether I think it works. I may try tinkering with it. Thanks for the suggestions!

Another ragtime piece from me. This one I'd really love to hear any thoughts on; I'm not really sure about a few passages and transitions and I'm trying to decide whether to revise it. Are there moments that sound awkward (in a bad way) to you?

I mean the very end of Albumblatt 3. I've listened to it a few times now, and every time, that final A flat chord feels like a dominant to me; my ear wants it to resolve to a D flat.

It would be helpful to see a score. There's a certain charm to the piece, but also some harmonic awkwardness in places. But for just your seventh composition, it's quite promising!

These are both lovely. I especially like No. 2. No. 3 sounds like it could be a good theme for variations. My only small complaint, and perhaps this is just me, is that to my ear it sounds like we've moved into D flat at the end of the second phrase, and the final A flat chord feels like it wants to resolve to D flat to me.

Thanks! Very glad you enjoyed it.

A little ragtime piece I wrote this week. Any comments or feedback would be appreciated!

I'm glad you liked it, especially as a fellow enjoyer of the film! I don't think I ended up making any revisions to the piece. I've been thinking about finding a pianist for hire to record it at some point.

Thanks for listening, and I'm glad you liked it!

I don't have much to say, except that this is great. I was skeptical that a scherzo could keep me interested for 17 minutes without getting monotonous, but it did. I love the harmonic language and the orchestration. I can definitely hear a lot of Shostakovich influence in it, but also some Holst as well as some late Romanticism.

Thanks for listening! Yes, it was meant to be a simple thing; I started writing a fugue as a second section, but decided it stands better on its own as a miniature. The title is perhaps foolish and naive, but it was written as more or less a direct oupouring of emotion following... a recent U.S. political event.

A little miniature I wrote today.

Thanks for listening! I know what you mean about the NotePerformer output. I had to fiddle with the volume of the clarinet vs. the strings just to get it to sound like this, and there are still places where the clarinet gets too buried. I probably should have done more to mark the clarinet dynamics up.

I just finished this Classical-style clarinet quartet after working on it on and off for the past month. Pretty pleased with it at the moment, though I'm sure the glow will wear off. I'd appreciate any comments or criticisms on it - or on any of the movements, if you don't want to listen to the whole thing. The whole piece is about 22 minutes long.

This is a question I've struggled with too. For a four-part texture, it's obvious that the way to score for string choir is violin I, violin II, viola, cello+bass. But what is the best way to balance a three-part texture? I don't have a good answer, but would be interested in one.