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Dorico 5 + Moddart Pianoteq. Virtual instruments are not the same as those actually played. But they can be worked on a bit to get the sound you want. It is also important to work on dynamics, accents, tempo changes (rubato). In this case that part is less important because in this style there are usually no changes of that kind.

Great piano playback. What software are you using?

Ill be participating again this year.

Thank you in my next publication i'll try to show longer music

Hello @Contrappuntista, Welcome to the forum! As Luis said you make good use of consonance and dissonance in the music. You make good use of cadence and follow the tonic-predominant-dominant-tonic formula well enough. I would suggest you extending the music to a longer one, possibly in 16 bars or even 32 bars with a contrasting phrase. Thx for sharing and joining! Henry

It's a good start, it sounds nice. Surely everyone would have taken other solutions at certain times. But essentially it sounds good to me, consonances in place and some dissonance in strong time as a passing note.

Well here's my first piece. This month I started learning about consonances/dissonances,suspensions,cadences and I've been playing around with that in my keyboard, it's quite fun for me at least This piece is the first one I write down, I hope you like it, I accept advice and everything as I'm new at this.

Thanks for listening.

very nice, fitting for a movie

Nice, really gives out a devilish style.

I'm glad you think so! I think playing and listening helps me, but writing music is usually for when I am feeling a little clearer, after things have settled down a bit. Until then, these improvisations can hopefully spark some ideas!

I can't tell you exactly. The Giga is a fast dance in 6/8 usually. The correnda, originally sung, is composed of four heptasyllabic lines with “square” rhyme (abba, abab, abcb). I believe that many of these dances are, in their roots, related, and that they took different formats, and evolutions according to the geographical area. The corranda has many names, depending on the area of Catalonia and the Valencian Country (further south): ball de córrer, remenadilla, cobla, cantarella, even follia.

Thank you! I have already fixed the two errors. Yes, there was a section VI which is indeed interesting (adding complexity).

I really really enjoyed this reading! I also loved the little sample piece you composed for showing the technique! I have observed two mistakes in the URL links: The second link Tintinnabuli (II) redirects me to the first section Tintinnabuli (I). After section V there is only a section VII. Not sure if the section VII is supposed to be the VI, or if you have an extra section VI that you forgot to upload. Thank you so much for sharing this!

Thank you so much, @Henry Ng Tsz Kiu! I am really glad you enjoyed this string quartet arrangement! 😄 Thanks for listening and commenting!

How is it different from a gigue?

Since I have recently delved into this topic, I want to share my blog posts (Spanish/English) about this fascinating method developed by Ärvo Pärt. I always try to write these posts from a simple and practical point of view. In English there are some videos available on you tube, and also the text by Paul Hillier, but in Spanish there is nothing. Tintinnabuli. (I): Essentials Tintinnabuli (II): T voice Tintinnabuli (III): M voice Tintinnabuli (IV): Adding T voices Tintinnabuli (V): Adding M voices Tintinnabuli (VI): Adding complexity Tintinnabuli (VII): Addendum Example:

Thanks for listening Henry! It's not really a fugue, that's why I wrote "A Fugue (of sorts)". Just wasn't sure what else to call it? It has some features of a fugue, in that more voices are added towards the end; but it doesn't follow the strict fugue form in any way.

Dear friend, It is a pleasure to send you the following information on the new competition: 17th PIANO COMPOSITION COMPETITION FIDELIO 2025 VIA THE INTERNET (Two new categories added this year!!) No matter the distance, you participate at home! Entering this competition is very simple, all you have to do is to record your own piano solo composition and upload the audio file from our website or send it via email to concursofidelio@gmail.com You don't need to submit the score, just the audio file. In this competition you are both 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 you also receive comments on your work or works written by the rest of the contestants. Very important: The composition submitted cannot last more than five minutes. Only the entrants vote to choose the winners. Money Prizes: Cash up to 2000 euros plus diploma certificate and cd's Entry fee: 25 euros per one composition submitted. (maximum allowed per category: 5 compositions) 15 euros each submission for two or more compositions THIS YEAR: The organization has decided this year the following change in the voting system: The results of the first, second, third, fourth, 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. You can participate with your name or pseudonym. You must be the author of the composition submitted. NEW THIS YEAR!! The competition is divided into four styles or categories so that you compete against works of similar style: 1. Tonal (any style is accepted) 2. Atonal (Contemporary style) 3. Piano four hands (New category added this year) 4. Variations for solo piano on the theme "Hark! The Herald Angels Sing" (New category added this year) No matter the distance. This Competition is celebrated via the Internet. Pianists from more than 40 countries join this competition every year. You participate from your house along with composer pianists from EE.UU, China, Canada, Germany, England, France, Spain, Russia, Bulgaria, Brazil, Japan, Iran, Chile, Holland, Israel, Sweden, Norway, India, Belgium, Portugal, Argentina, Venezuela, Italy and many more.... More than 1200 pianists have already entered this competition during the fourteen years that it has been held. REGISTRATION TO PARTICIPATE IS OPEN. ENTRIES DEADLINE BEFORE STARTING TO VOTE: January the 31st 2025 Click on the following link to register in case you are interested. You can also listen to the past year's winning works and read some testimonials: https://concursodecomposicionparapianofidelio.com/# https://concursodecomposicionparapianofidelio.com/ganadores-ediciones-anteriores/ We would be very grateful if you spread the word among pianists and composers. With best wishes Antonio Ruiz Asumendi (organizer) Taller de Músicos y Artes Plásticas, Editorial Centro Integral de Música y Artes S.L de Madrid

The root note of the new home key is the note that the augmented chord was gravitating toward. Heard one after the other it makes more sense imo. Also, the keys of all the movements outlines a D augmented chord: D F# A#(Bb in this case for ease of reading and writing 😅) and D again. It’s all part of my massive big brain hyper-genius plan 🤯 (sarcasm) I am actually not a string player! But my brother is and I always have him test my music lol. You’ll notice I have very simple bowing in this movement for the exact purpose of giving the string players an easier time lol. (Sorry lower strings 😬) Hehehe, once again all part of my evil plan 😈 The light scherzo is meant to be “interrupted” by both the sighing motif and the english horn motif from the first movement. It’s nice to hear a second opinion, and interestingly, Tchaikovsky was a massive influence for this movement! Thanks alot for the feedback, I look forward to your “indefinite” future comments! 🤣

I think you said that last time, and I agree! It’s just difficult to compose with the fast chromatic runs 😭 the main thing is that the allegro part is my subordinate theme and I want the exposition to be successful in its EEC, so I need to not modulate TOO far xD but I agree. It gets a little repetitive 😅 Hmm. The problem might in part be due to the program because the dynamic there is forte and fortissimo, but I’ll start the crescendo earlier, maybe even make it start on fp to accentuate the cresc, and maybe I’ll make it molto accelerando instead of just accelerando 🤔 Hehehe that’s what I wanted 😈

I was trying to limit myself more with auxiliary winds with this piece lol, and I thought it worked fine, but I’ll try a piccolo, or maybe just use the very highest register of the flute. I’ll see what works. Yup! 👍 I’ll try that too, but I’ll probably end up preferring how it is now 🤣 I may have stolen that accompaniment from the 3rd movement of Mahler’s second symphony 😬 Thanks for the feedback! I always appreciate it.

Hi @NicholasG, The opening sounds exciting, but the whistle reminds me more a football match than a march! I like the marching rhythm though it sounds more like an advertisement music for me to be honest. The opening C minor passage is great, it reminds me of the background music of Merry Christmas Mr. Lawerence when David Bowie kissed Ryuichi Sakamoto! Thx for reminding me Peter, as I immediately turn my volume down reading your comment 😛 Thx for sharing! Henry

Hi Jonathon, It's surprising for me to have the 2nd movement in F# major in a D minor piece despite the previous movement ending in D major! String players always said F# major (or Gb major) difficult for string players but you are a string player yourself so I think that's not a problem! You really capture the scherzo style, and I like those chromatic fallings before the end of it. I actually think both the modulation to the C# minor and changing the tempo to Adagio in the Trio section a bit abrupt. Maybe personally I won't change the tempo to Adagio, but that's subjective. Also you should change the key signature there! Like Peter said I love the pizzicatos there. For me the retranstions works fine as it reminds me of the Scherzo in Tchaikovsky's Fourth Symphony. Thx for sharing! I will finish the remaining two movements indefinitely haha. Henry

Hey @Mooravioli, I like these two music! It sounds so different with the famous Minuet in G arranged to a jazzy style. Honestly I don't recognize the Beethoven melody since it sounds so different from Beethoven, but I like it as well! My only complain is that I don't like the drum kit! I think it's a bit disturbing the cozy feeling of the pieces! Thx for sharing! Henry