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  1. Hello everyone, I'm back, this is the piece I newly composed, hope you like it
  2. This prelude in c minor is part of my endeavour to write a small collection of six preludes in various imitative styles. It follows a more associative development typical for imitative-figurative preludes of baroque music and is heavily indebted to this article by Vasili Byros, “Prelude on a Partimento” (http://www.mtosmt.org/issues/mto.15.21.3/mto.15.21.3.byros.html). However, this prelude is not based on a partimento but on a simple plan I devised myself. The score still needs some improvement, but should be readable. As this prelude has a really baroque feeling, I opted to use a harpsichord soundfont, “Petit Italien“ from Soni Musicae. (see: http://sonimusicae.free.fr/petititalien.html ) Critique and other comments as always welcome!
  3. Prelude.mp3 Prelude.pdf A short prelude for marimba and flute.
  4. Hello fellow composers, I was recently afforded the opportunity to perform a recital of my own works and decided afterwards to record a couple of them in a home setting. This is a collection of relatively brief solo piano preludes. It's a rather unusual work for me, as I generally tend towards longer, more developed chamber music. These are more like independent, fleeting ideas. This collection moves chromatically from C through B, alternating between major and minor. The musical style would be right at home in the 19th century, which is the period of music that I most appreciate. My personal musical preferences definitely lie with the conservative branch of that period, and my writing reflects that. Unfortunately, I am not comfortable sharing the score. It's not that I don't trust the established members of this community, but rather that I don't trust making my scores available to anyone in the world at a time when the work has not been performed far enough afield to prove beyond a doubt that it is my work. After having a colleague be forced to go to court to deal with a music thief, I am not willing to endure the stress and expense of doing it as well. My apologies to those who would have liked to see it. If only we lived in a world where everyone was honest.
  5. In my ongoing project of composing six small preludes, this one was very difficult to write for me and I am not very satisfied with the result. Basically, it is a canon from measures 1-11 with the upper voice leading, and and then a canon from measures 12-30 with the lower voice leading. M. 1-6 and 12-17 are virtually identical with the voices just exchanged and once in the tonic, then in the dominant (double counterpoint). The tonal plan is C Major -> G Major -> e minor -> G Major -> C Major. Very simple, but it was a new experience for me to change keys in a canon. I wanted to compose it with a hint of moto perpetuo movements, but this didn’t work out. So, without further ado, the prelude in its current state:
  6. I've been revising older works of late, particularly my earlier piano pieces. This is the third of a set of three pieces where each work emulates one of the major old style of Western Music (Baroque, Classical, Romantic). It's a someone free-wheeling, highly virtuosic work (I've been told that an earlier version may not have been playable which I've since tried to address) and is essentially a piano transcription of the ending of another work of mine for violin and orchestra. I recently acquired some nice piano sounds which I also tried out on this work (VI Labs Ravescroft 275). Score is attached but as always, it's a bit messy.
  7. To improve my skills, I am now in the process of writing a set of six small preludes for piano (or any other keyboard instrument with a range of four octaves) with a contrapuntal flavour. Four of them are somewhat finished, and one of them is this prelude in d minor that is planned as number 6 of the set. It has a rather simple structure that in the literature is sometimes described as reminding of simultaneous double fugues, because the main building block is a small subject and an fixed accompaniment in double counterpoint, quasi a countersubject. The subject and countersubject visit in a quasi-fugal way several keys; these visits are connected by sequences that use some material from the subject or countersubject, though sometimes the relationship is difficult to see or hear. I am still a bit unconvinced by the sequence connecting the subject in g minor and the reprise in d minor, but haven’t found a better solution. The same for the final cadence. Please feel free to comment, criticize etc.
  8. would like your feedback on this I want to publish this as a track it is an orchestra of strings
  9. This prelude was inspired by an autumn walk. Any kind of criticism is welcome! Prelude 1 Op.2.mp3
  10. Hello artists! I'd be very glad to show you a bit piano piece I did some years ago Of course, any comment or suggestion, you will be welcome
  11. A prelude from some time ago played by Anna Sutyagina.
  12. TURN DOWN YOUR VOLUME Working on hooking my Roland LX-15e up to my computer to start recording! Be patient my friends! Also, any advice or thoughts are greatly appreciated!
  13. Will be uploading an .mp3 of myself performing soon Sorry for the poor audio (TURN THE VOLUME DOWN)
  14. Prelúdio e Fuga (SAT).mp3 This is a Prelude and Fugue for recorder trio (soprano, alto and tenor). I composed it for a trio (which was a quartet, but one person gave up) I would take part in, but then the whole group "ceased to exist" without a single rehearsal with everybody (= 3 people). The Prelude and Fugue continues to existe, but now without a concrete destiny. Hope you enjoy^^ OBS: I changed the VST to flutes because Garritan's recorder sound is a scream of pain from hell. OBS2: I didn't put dynamics, articulations or anything else because I'm lazy.
  15. Before presenting my submission to the Contest I post here a little piece that shares the dedication to Rossini with the Variations. Here I don't quote any theme, and I refer mostly to the Rossini author of keyboard music.
  16. A small prelude written for my English class - background music for a model based on the setting from A. Huxley's "Brave New World". In this composition, I tried to reproduce the cheap and ignorant, grotesque cheerfulness of Huxley's bizarre world of artificiality. Also, I thought that the concept of all-seeing eye would fit the dystopian nightmare. The pillar of this prelude is my loose improvisation in A major - one of the most happy and cheery keys, in my opinion. Thank you for listening!
  17. A piano solo prelude.
  18. This is an edit I did to a piece I wrote for school. I wanted something a little more professional sounding and not so humorous. I added a prelude to the fugue to give it some length and more opportunity to show my writing. I plan to use this as part of my portfolio for college, so any suggestions are welcome. Doesn't have to be about the piece, could be about what else to include in the portfolio. Sheet music is also available to see any engraving issues. There's probably a lot.
  19. Not an especially adventurous work, written in a day and a half for a funeral. I decided to upload it simply because there isn't much in the way of organ music, and the organ is the "king of instruments".
  20. This is a set of three pieces, though composed individually, that I put together as a single opus number, each reflecting an attempt to compose within a specific style. The first is a "sonata" akin to the single movement works of Domenico Scarlatti. It originally started as a possible movement for my harpsichord concerto which I later just used as a stand alone solo keyboard piece. It is playable for harpsichord or piano. The second is a movement in classical sonata form that was originally an assignment for a music theory class. It's probably the most "pedantic" of the group being in very tight sonata form. The last is a romantic style prelude. It is a piano transcription of the cadenza to the ending of Fantasy for violin and orchestra that I wrote about 5 years ago.
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