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It took me a few months, but I finally completed my most recent work for orchestra. This piece is nominally in scherzo-trio form, with some slight modifications. Each scherzo is itself also binary in the manner of a sonata form exposition and recapitulation. The trio is actually a waltz, slowly built up from nothing via the gradual introduction of cliches. Though it seems to be unrelated to the scherzo at first, I bridge the gap with the transition back into the scherzo. The strict metric modulation to precisely half-tempo for the trio is critical. In the concluding fugato, both themes from the scherzo are combined simultaneously. Score video:

This is a brief, fast-paced piece for the cello and piano. I'm haven't written much in the way of chamber music, but let me know what you guys think!

I think it's time to present myself to this young composer forum, so I would like to show you my very first professional work, my piano sonata in c minor. A piece in for movements that I started composing in summer 2017 and I finished in early 2018. The sonata was originally based in 3 movements, so in 2020, during the pandemic I decided to make a revision of the whole score and to add an extra movement. So, I leave you here the link to the YouTube video where you can hear this piece: PD: If you like my music you could subscribe to my YouTube channel and share my music. Thank you and enjoy!

Good evening everyone! I'm excited to present a new piece I have been working on for the last month or so: Scherzo for Orchestra. I deliberately wrote this fairly quickly, with the intent to write something fun, conventional, and maybe even a little whimsical. I'm interested in any and all constructive feedback. I had a few goals in mind as I composed this, feel free to critique my success or failure on these: Write something a little more informal and accessible, with catchy, memorable themes. Start with a very simple idea, and build the entire piece off of it. The four bar opening phrase in the 2nd violins popped into my head one day, so I tried to build the entire piece off of this motive and transformations of this motive. Practice having multiple contrapuntal lines. Some details on this are below. Write something that would work as a middle movement of a larger work, such as a symphony. Write something under 10 minutes, since I might decide to enter it into a competition and a lot of competitions have a 10 minute time limit. The piece is loosely structured in a three-part rondo form (ABACABA). (0:00 - 1:32) - A Theme - A very quick staccato theme in C# minor. I based this on the idea of a fugue, with each voice entering at different scale degrees, before they all come together to cadence. I'm sure I broke a few rules on the counterpoint, but it got the job done. The section ends on the V (G# minor) (1:32 - 2:21) - B Theme - A soaring theme in E major, then restated in Db major. Here I tried to have descending chromatic lines to complement the ascending melody. (2:21 - 3:04) - A Theme - Restatement of the second half of the A Theme, this time ending on I (C# minor) (3:04 - 6:31) - C Theme - A waltz in D major that begins very timid, gradually gains confidence, and goes out with a bang. (6:31 - 8:01) - A Theme - Restatement of the A Theme, this time in D minor, with the orchestration modified slightly. I threw in a couple unprepared modulations up a half step, to Eb minor and E minor. As a result I may have broken a "rule" here since I ended the section on B minor (which is not the V of D minor, the key I eventually return to). (8:01 - 8:49) - B Theme - Restatement of the B Theme, this time in Db major and Bb major. (8:49 - 9:37) - A Theme - The second half of the A Theme again, eventually returning to D minor to end the piece. As usual, I have an onslaught of questions I would like specific feedback on. Feel free to answer as many or as few as you wish: What effect does the music have on you? Does in conjure up an image? Or an emotional feeling? Does it tell you a story? This can be the piece as a whole, or a specific part or parts. What was your favorite part? What was your least favorite part? Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.? How do you feel about the overall form? Is it effective? Do any of the parts seem impractical to you? It's a pretty fast piece with a lot of technique, so I'm curious if some of the parts are impractical. I don't mind them being difficult, I would only be concerned if they are borderline impossible. Do you have any comments of the quality of the performance in the audio file? I really want this to be a decent representation of how the piece would sound if it were performed live, since it is unlikely it ever will be. Feel free to put your "conductor hat" on and critique the "orchestra". I have included a score and welcome any constructive feedback on its presentation. And if you're like me it's a lot more fun to follow along with the score. Are there any composers this reminds you of, that I might enjoy listening to? Sound libraries: Spitfire Symphonic Orchestra and Spitfire Percussion VSL Trumpet (only for some of the lyrical trumpet melodies) VSL Violins (only to layer with the violins in Spitfire) Thanks for listening, I hope you enjoy! If you liked something I did and want me to explain how I did it, feel free to ask as well. -gmm

I hope you all are doing well this days! Here I share a little scherzo of a little symphony I'm writing to practice. The scherzo is based in some fragmented themes my little sister was tackling on the piano (that is why she is mentioned in the score!) I hpe you enjoy it and as always I'm open for feedback and things to improve. I know that the structure of the scherzo it is not completly correct as in the scherzo part I do not repeat the A section and then the B section. Aswell istead of a trio there is some sort of funeral music (to give some contrast).

Hello everyone, I am back, this is my new piece, hope you like it and welcome your commentation.

I have completed the Scherzo section of my Scherzo. Okay, let me explain. I am writing in Scherzo and Trio form. I have completed the Scherzo part of that form. At first, I didn't have a pickup measure, but I decided that it was needed for my Scherzo to feel right. The Scherzo section of it further divides into 2 parts In the first part of it, the overall harmonic motion is from D to G and back. The Scherzo section of the piece has a motive that very frequently shows up in the melody. I end the first part of the Scherzo section with a syncopated cadence(both in the sense that it is on a weak beat and in the sense that the bass and melody are offset by an eighth note). In the second part of it, I use the circle of fifths to modulate from D major to D minor. I then have the Scherzo phrase appear once again in D minor. Then, I have a first and second ending where the first ending has a half cadence that leads back to the modulation and the second ending has an authentic cadence in D minor that leads into the Trio section, which is also in D minor. In the circle of fifths modulation, there is a Neopolitan chord that seemlessly goes from the circle of fifths modulation to the dominant of the key. The authentic cadence in the second ending has an augmented sixth chord that I added to confirm the modulation to D minor. I am working on the Trio right now. This is how I planned out my Scherzo: Scherzo - Trio - Scherzo Da Capo - Coda What do you think of my Scherzo section? Audio ends at 1:29

So I am working on a scherzo and I got the first 3 phrases done but then I reached a composer's block. I am trying to get a more Haydnesque feel to this scherzo while still having some originality. Here are the ways that I have tried to get a Haydnesque feel across: Hemiola in the first phrase, so like instead of quarter note tied to eighth note which would get across 3 beats, I write it as 2 dotted quarters which gets across the feeling of 2 beats in 3/4. In my case, it almost sounds like there is a triplet rest between the dotted quarters, even though I didn't write any rests there. Accenting the subdominant note in the first 2 measures to make it sound like I am in Bb major for a little bit before you realize that it is in F major. The subdominant note in both the first and second measures is on beat 3, so it sounds like I have a 2 beat pickup measure, even though I don't have a pickup measure at all. Sudden dynamic shift corresponding with a shift from simple triads to big chords across both hands(I kind of borrowed this from Haydn's Surprise Symphony) Using an augmented 6th chord in place of a dominant 7th chord Delaying resolution I use a lot of staccato here but I withheld from using it until after the first phrase. Even though I have 19 measures here, it only lasts for 25 seconds because the tempo is at quarter note = 140. So what do you think of my scherzo so far and do you have any suggestions on going further with the scherzo? And do you think the sudden forte chords get across a more Beethovenian vibe? Because I have noticed some people say that the sudden forte chords get across a more Beethovenian vibe and makes the scherzo sound more like one that Beethoven would have written than one that Haydn would have written.

Just a short, fun piece I wrote. https://youtu.be/i_g_6Rla2kA

A brief piece for cello and piano I quickly wrote. It is among the first of the pieces that I've written in such a style, so I'm always looking to improve. Let me know your thoughts, and thanks!