Jan-Peter de Jager

A little more explanation and a response to the comments: After choosing the scale I chose the melody. I applied these durations to the pitches of the melody (there are four phrases): 1. Long short short long long long short long | 2. long long short long short short long short long | 3. long long long short short long | 4. long long long short short long long short long short long| In the cello and contrabass I used the same durations but slower and of different lenghts (since long-short are broad categories). The violas go at times with the violins rhymically, at times with the cellos/contrabass and sometimes have there own rhythm. After 12 bars the melody repeats but starting at the G. The lines of the viola and cello/contrabass are different. Thanks for your comments @meastrowick and @jawoodruff! I will explore this further. It was an experiment, a free exploration. I realised it needs more boundaries and the suggestion of jawoodruff ( Explore strident tonal relationships) is a great way to do so. Thank you! You might see more of this 🙂

I was experimenting today with the following 'scale': C, C#, D, E, F, F#, G, A, A#, B, C. This was just an experiment... Hope you like tho :-)

A composition of mine for flute and guitar (in finale instead of the guitar you hear a harp, imagine a guitar 🙂). Hope you like it.

Today I was experimenting and some kind of piece came out. It's based on a part of a part of the first prayer of St. Gregory of Narek: 'The voice of a sighing heart, it sobs and mournful cries I offer up to you, O Seer of Secrets placing the fruits of my wavering mind as a savory sacrifice on the fire of my grieving soul to be deliverd to you in the censer of my will.' http://www.stgregoryofnarek.am/book.php?parent_id=2&type=2&type_1=none

Nice piece... One little remark: what is the dynamic in the left hand in the first bar?

Thank you for this pleasant piece in the morning sun while drinking my coffee 🙂. One of the main pillars of composition is variation. This is learned by practice. So you have a motive over the bass ostinato. Do you know more ways to make variations on the motive? Think what you can do and try how it sounds! Try different things, as many as possible, and choose what you feel are the best.

https://youtu.be/gvADJSagvADJSaeB3I Here I put all the movements in one vid.

Thank you for your kind words Luis!

You find the score here: https://drive.google.com/file/d/0B41ecwRgLVAAN0o4TGpRWjJtNUFGeUFuVDhMSUVHV0NoMnZz/view?usp=drivesdk Movement 1: Movement 2: Movement 3: Movement 4: Movement 5:

Here you can find a performance: https://youtu.be/bYOygL7FOTo This is the score: https://drive.google.com/file/d/0B41ecwRgLVAAMVJrZDJ6TURLeXhlLVZDQTh5Nk4zcUt5NGJJ/view?usp=drivesdk I like to hear what ye all think!

Really nice, energetic and virtuosic at times, also lyrical. Have you ever composed a very slow piece, without virtuostic passages? I love you energetic and virtuosic parts, don't get be wrong, but to be creative in another way is always good for a composer. I noticed in another composition you posted you played also had virtuoso parts (east winds, great listening too!)

Very nice. The first one really felt as a 'world-in-itself', it felt to be longer then one minute (that's really positive! It wasn't boring at all!)

Thank you both for your comments! You're right Ken320 I'm stretching too much. Great idea about punctuation as fuel.

Quite lovely! A trailer for a action or fantasy film? Something with a quest. 🙂

Wonderful!! Be proud! Do know it's hard for the guitarist to be dynamically in balance with the piano.