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I wrote this piece for the project of flutist Robin Meiksins, Where she play one piece a day for a year. I hope you enjoy it!!

Greetings! The Charlotte New Music Festival applications are open for the 9th annual international Composers Workshop and the Max Computer Music Workshop. It's free to apply and we invite you to share these workshop opportunities with students and other composers you know. We look forward to another great round of concerts, exploring new music, networking, and hosting composers and performers from around the world! Priority application deadline: January 20, 2020 by 11:59pm Free to apply! www.charlottenewmusic.org Composers Workshop Max Computer Music Workshop (June 15-27) The Composers Workshop is a unique two-week event that allows a select group of about 30 student and emerging composers to work closely with some of the top performers and distinguished guest faculty in the creation of new works for performances at the Charlotte new Music Festival. Participants will hone their craft, build their professional networks, listen to a lot of exciting new music, receive valuable and pragmatic career advice from musicians & composers with a wide range of experiences, and much more. During the festival, each composer will have the opportunity to have two pieces that will be professionally performed by world-class musicians. The Max Computer Music Workshop (MCMW, lead by Christopher Dobrian and Charles Nichols) is an intermediate to advanced one- to two-week immersive workshop during the Charlotte New Music Festival, focused on programming and composing computer music in the Max visual programming environment. Participants will learn techniques for programming interactive computer music, culminating in a public recorded performance of works created during the workshop, performed by guest musicians. More info & to apply online www.charlottenewmusic.org Guest Ensembles & Composers Beo String Quartet (Pittsburgh) Hypercube (NY) Loadbang (NY) Transient Canvas (Boston) Duo Zonda (flutes - Orlando Cela & Wei Zhao, Boston) SpacePants Guest Composers: John Allemeier Christopher Dobrian Kirsten Broberg Lansing McLoskey Charles Nichols Alejandro Rutty Kotoka Suzuki Others TBA

Hi all! It's been a while since I've been on... and I'm returning with a question about Fux's counterpoint from Alfred Mann's The Study of Counterpoint: Are the solutions to each of Aloysius' examples (with corrections) the only acceptable solutions? In attempting to complete the very first exercise (first species counterpoint on the given cantus firmus, in the bottom voice, in dorian mode), I find there are good reasons to rule out most of the consonances that could be considered. However, I don't know if there are hard and fast rules which make the answers that Joseph gives the ONLY possible answers. Anyone have experience with this problem or insights? Thanks!

Here is a short study for piano, I wrote. Roberto Zini - Studio brillante I hope it is something interesting.

Please excuse the playing on this. If any pianists would like to record a better version I'd be happy to hear from you!

Hi everybody, I write from Italy and I am the composer of a gothic-neoclassical duo, the Elfenwald (http://www.myspace.com/elfenwald01). I like composing very much and I would be so happy to let musical composition become my work...I know it's very very difficult..it's also very difficult for a band or duo to reach the audience. I studied piano for 10 years with a private-teacher, but I didn't attend the conservatory..since 2010 I started composing for my duo, and I discovered my composing-abilities..I'm not a genius, but I think I have enough abilities as a self-taught person. My dream is to let my duo be well-known and to work as soundtrack-composer. For the first thing I know that it's difficult and that we have to make a lot of promotion...what shall I do for the second question? Yes, surely I have to demonstrate my abilities and improve a lot (and, probably search for short films needing soundtracks), but which would be the way to became a professional composer?Anybody has self-experience to tell? Thank you so much and sorry ifor my imperfect English!!!

Is Formal Training In Composition Necessary At One Point Or Can One Find One's Way Just Through Practice Composing And Studying Pieces? What do you think? I have scarcely gotten any training and compose as an amateur. I am wondering how far I can go like this. Will I find my way to composing even symphonies, or would that necessitate some formal training? I know that Elgar became a composer through self-study. Would training generate symphonic ideas where none occurred before, or improve one's original ideas?

Do you agree or disagree with the above statement? To agree would mean that no matter how much a person lacking the gift of composition studied, they would never get good at composition just because they lack the gift; and that a person who possesses the gift of composition would display that gift no matter the amount of instruction or study he/she has had in composition. To disagree, on the other hand would mean that a mediocre talent or even one who patently lacks the gift of composition could get good at it thanks to instruction and study; and that a great talent might be totally wasted because of a lack of the proper instruction and study.