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Up until recently I was in the process of making music for a short film. The film was about a girl who gains "superpowers" from an old tree, and with these superpowers she's able to save her dying father and the forest. When i sent them my music they immediately said that they hade chose to pursue other options with the motivation being the music was too different from what they had in mind. I'd love to receive some basic feedback on this short piece. I'd like to know wether if it's straight scraggy or if it's alright, if there's something missing and what that could be. I'll be glad for any opinion on my work. I have some confidence in my ability to create music, but since I'm working by myself I never really have any idea what others think, so just a couple of words of opinion would make my day. Thanks 😊

Hi again, ladies and gentlemen. After some time thinking about what to post I thought that instead of uploading another nocturne I might ask you for feedback on my most recent video instead. The piece it contains is not very recent, more or less a year old. It's precisely the piece that preceded my first accordion sonata and my first piano sonata. I won't say much about it. It's my third piano waltz, it's playable, and it's hopefully decent. But you judge! • Here is the PDF & MP3: Free sheet music : Rodríguez, Daniel-Omicrón - Obra Menor Nº40 - Vals Ahorcado (Piano solo) (free-scores.com) • Since now free-scores possibly requires registration, for those of you who don't want to go under that process, you'll be able to find the PDF here in the post (but I do recommend registrating though, it's a great site full of hidden gems like YC): 40 - Vals ahorcado.pdf Here's the youtube video created via Piano VFX, OpenShot and Paint.NET: As always, I'm open to any feedback, comment, impression, thought regarding the piece (though it's a bit old but I may always consider your thoughts for my next pieces) the video, a part of it, both, or whatever 🙂. See you in the forums!! Daniel–Ømicrón.

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Thanks to @PeterthePapercomPoser and @luderart for the ideas in this. It was my first dabble at using the mystic chord and a #4b7 mode, as well as trying out a short undeveloped form. I like the result, and hope you do to.

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Yes the title is parenthesis. It intends to present something unspeakable and speechless. I had other intentions at first but do not dare to speak it out. The piece is composed 10 years ago when I was a naive teen. The structure is simpler in a ternary structure. The recording is also recorded 2012 by myself in my school’s music room. You can hear the school alarm sound at the near end!! It’s also full of slips and wrong notes. But I cannot find or produce a better recording. This recording is so honest and pure. Even now I can play it much better in terms of technique, I can never produce that honesty anymore, so I will just retain it here. Without @Omicronrg9’s encouragement, I would not post the piece, thank you Daniel! Hope you enjoy the piece, and I welcome commentaries and comments on it. Thank you and have a nice day! P.S. I have provided the YT link here in case some one loves to visit my channel!

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Hi, I've been workin on this fugue, trying to apply my new knowledge. It's in G major, and there's controversy. In the subject the dominant note (D) appears quite clearly in measure 3. Is it supposed to be transposed tonally, i.e. a fourth up (G) instead of a fifth (A)? I didn't. As you can see in bar 8 it is as an A. It really is an ambiguous case "by the book". Since the D appears prominently but already in the third bar. So I tried to make the answer as you can see, and as it sounded good it stayed that way. The structure is: Exposition, where the 4 voices enter and the countersubject is written in invertible counterpoint. Divertimento, sequence or episode (measure 22) that modulates to the dominant (D). Counter-exposition (measure 26), using inverted subject and countersubject. Divertimento (m. 36) using Corelli's Leapfrog with the subject motive with other schemata and Cudworth cadence (which I like to use a lot). Stretti (m. 44) and mini-exposition with pedal note. Divertimento (m.58) in the subdominant area with plagal cadence and new Cudworth to return to the tonic. Coda (m 65) with perfect authentic cadence. As always happens to me, I'm sure I've missed parallels all over the place. But hey, someday I'll get closer....

Hi Everyone, here's a piano piece I composed about walking in the woods. Let me know what you think. Thanks!

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15th PIANO COMPOSITION COMPETITION FIDELIO 2022 VIA THE INTERNET 15th PIANO COMPOSITION COMPETITION FIDELIO 2023 VIA THE INTERNET (Divided into musical styles) Entering this competition is very simple, all you have to do is to record your own piano solo composition and send the audio file to one of the following email addresses: concursofidelio@gmail.com You don't need to submit the score, just the audio file. In this competition you are both a competitor and judge, choosing the winner by voting at home for the best work. All the voting results are sent to you via email so that you can check both, the votes given and received by everyone.. During the voting process the contestants also receive comments on their works. The organization has decided this year for the first time the following change in the voting system: The results of the first, second and third round and semifinal round will be decided by the participants, on the other hand the results of the final round will be decided by the participants and also by an external jury of composers. Very important: The composition submitted cannot last more than four minutes and forty seconds. Only the entrants vote to choose the winners. Prizes: 2000 euros and more divided into two categories. Entry fee: 25 euros per one composition submitted. (maximum allowed per category: 5 compositions) 15 euros each submission for two or more compositions You can participate with your name or pseudonym. You must be the author of the composition submitted. The competition is divided into four styles or categories so that you compete against works of similar style: 1. Tonal, Classical, Romantic,Jazz, Impressionist, Ragtime.Minimalist, Experimental, New Age...any style is accepted 2. Atonal, Contemporary (Some Tonal parts are allowed) No matter how far you are. This Competition is via the Internet. Pianists from more than 30 countries join this competition every year. You participate from your house. ENTRIES DEADLINE BEFORE STARTING TO VOTE: September the 29th 2023 Click on the following link to register in case you are interested. You can also listen to the past year's winning works: https://concursodecomposicionparapianofidelio.com With best wishes Antonio Ruiz Asumendi (organizer) Organized by Taller de Músicos y Artes Plásticas, Centro Integral de Música y Artes S.L de Madrid www.tallerdemusicos.com Fidelio edit. Deadline: 29 Sep 2023 Entry Fee: 25.00 Currency: Euro (EUR) Web site: https://concursodecomposicionparapianofidelio.com/

A bit of a throwback piece: I believe this was the second piece I wrote after coming out of a rather worrisome bout of composer's block, some time around February 2023. I was in somewhat of a rush to write this piece (for no other reason other than I wanted to get it done as soon as possible so I don't fall back into a creative slump), and I had gotten it done in three days. After finishing the piece on the first day, I was compelled to add more and more content until it felt right to me, and spent the third day adding finishing touches. It is my longest piece to date (so far), at around 7 and a half minutes. Compared to my earlier pieces, this one is more harmonically diverse, and contains several modulations to different keys (shocker!). This piece is written in a (sort of?) ABCDA form (although I did not envision it as such at first): I named it 'Contemplations Atop a Mountain High' as I felt the piece's meandering nature sort of felt like the remembrances of a person contemplating the nature of their existence before rejoicing in it as the dawn breaks. I was inspired a great deal by the works of Liszt (especially the Allegro pastorale from his Album d'un Voyageur) and the nocturnes of John Field; I lifted the name 'Idyll' from a piece Arnold Schoenberg wrote before his plunge into atonalism. Would appreciate some feedback on this!

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It's that time again. I may have gotten weird with the score.

Edit: I changed the structure of the piece a little bit after posting this on youtube and used the fast section as a sort of coda for the piece. The new final version is attached as an audio file.

Here comes the 3rd movement. I needed to post this so I can move on with my life lol. Links to previous movements. Hope you would enjoy and comment. Btw I should hold my promise, see if I can tag you @Awsumerguy

Hi all, A few weeks ago I posted a piece called Ninlil. I liked it too much to leave it just as a short piece stuck there all on its own. I always had the idea that it was a musical depiction of Ninlil, the Mesopotamian Goddess of the sky and in this incarnation, representing the wind. I started thinking of a suite of short pieces to represent various goddesses connected to the weather. So here is the second piece in the suite, "Elurra" . It's the Basque word for snow. The goddess in this case is Mari, La Dama de Murumendi. An ancient Basque goddess responsible for wintery weather. Here she is merrily making the world white. Hope you like it 😊 Listen to Elurra by Mark McDonald on #SoundCloud https://on.soundcloud.com/p8syo

Link to first movement: The second movement to my C minor piano sonata is a work of great trial and error. For those just simply want to listen, please do. For those tempted by spoilers, here's such: I managed to record a semi-decent playing of the 3rd movement, so that should not take too long to be released later.

Hi again, ladies and gentlemen. It's a pleasure to me to make yet another spam post for you to value, comment, and listen. Naturally, I come with my next nocturne, composed during March and finished more than a year ago (already!), on 24 March, 2022. It is dedicated to a close friend of mine, David Lozano Leiva, who is also a musician (guitarist, and amateur composer as me). The traditional nocturnal character of this nocturne is as present as it was on my last one, so yeah, close to none but perhaps a bit more than the 7th of this set. Not my best, neither my worst, but I'll leave that judgement to you. As always, any feedback, opinion, comment, greeting, as meaningful or meaningless as you yourself consider it, is very welcome. I'll leave the video here and the mp3/pdf below. Kind regards to you all and thank you in advance, Daniel–Ømicrón. 55 - Nocturno Nº8.pdf