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It'a a wonderful piece. Very classic sound but beautiful and interesting. To my taste, I would shorten the intro part a little bit (00:00 - 2:00). It's not that it's slow, I don't care aout that I like it, but the theme is repetitive, whenever it appear again later (with great changes, 3:10 or so). But, as I said, it's my poin of view as a listener. The fugue is wonderful, I wouldn't change anything. It's beautifyl even the score! Greetings!

Um... yes it's good.

A really exciting competition, where young composers are asked to create a new piece for chamber choir based on The Canterbury Tales by Geoffrey Chaucer. There are cash prizes of £750 for the winner and £150 for 5 runners up, plus the chance to hear your piece performed at a high profile event in July 2017, and have it professionally recorded. The judge for the competition is internationally renowned composer David Conte from the Conservatory of San Francisco. You can find more details about the competition at www.cartitaschamberchoir.com or on the Facebook support page https://www.facebook.com/CaritasInternationalYoungComposerCompetition2017/?ref=aymt_homepage_panel Closing date for entries is 1st March 2017!

Thank you! I am new to all this!!! Age limit for this competition is 17 - 30. However, if you do fall outside these age limits, please feel free to get in touch. We are always on the look out for new ideas, and if the interest is out there, we will certainly consider a competition for different age ranges.

It would be good to mention the 17-30 year old age limits for those who happen to fall outside them.

Look of the third movement of Steve Reich's "Electric Counterpoint". It's not exactly the same, but it shows you how repetition and minimalism is done correctly.

If you are still interested in further pieces (than the ones Monarcheon promised you), then you might want to have a look at the piece I just composed: http://www.youngcomposers.com/t34476/soliloquy-for-viola-no-6/

Mozart variations - Full score.mp3 At the request of Monarcheon, I am uploading a single file for the mp3 and a single file for the score. None of the notes or markings, etc., has been changed, although a couple of changes were made by removing my name from each variation, for example, since that wouldn't have made sense in a single file. Thanks to the above posters for listening and commenting! "Inverted" might have been the correct word. The theme is G, Eb (or E, in the major), D, C. In the third variation, though, it goes G, C, D, E, ascending rather than descending. If I had completed more of the variations, it might have been more balanced, though I would not presume to be able to write at Mozart's level!... ;) There certainly is a risk when using a theme from such a great movement (some have argued it's Mozart's best concerto finale) and Mozart himself wrote variations on it. As I was getting close to the deadline, I suddenly realized I had written down a few too many of the major-key variations and not enough of the minor-key ones, so that's why it is a bit biased toward the major. Thanks :) Maybe you enjoy it BECAUSE you don't (or can't?) write in that style? I know there are many pieces (not simply classical) which I love but which wouldn't come naturally at all to me, or maybe I wouldn't even make an attempt at writing that way but admire it greatly, maybe all the more because it's beyond me how they came up with it. As for the fourth variation, I felt that there was enough movement going on in the upper voices and that a pedal was needed. If it had been a full orchestra, I think this would have been covered by handing it to the brass and/or bassoons and then maybe the lower strings would have been needed to give more power to the violas and second violin. (Someone with real-life experience, please feel free to chime in about how the balance would work out.) A small part of the bass line in Variation VI (one octave up, one octave down) also references the earlier variation as a way to tie it in a bit. Thanks for listening! EDIT: Is there a way to stop the below file from playing at the same time as the above? It seemed like I loaded this page and both played at once.

Very nice! It is interesting to hear the inspiration behind your pieces, especially since several of them are stories from your childhood. I think you capture the mood very well.

Curious... You explain this is inspired in a school-day experience, written in the night.... Great that a nocturne can be many things! The main theme in catchy, and the developments too. Very nice.

Well, it's not on my mind. But composers are still quite enamored with of the idea of deconstructing tonality in order to placate the neurosis of modernism. the end result being - in my opinion - works that are only interesting once, and sound more similar than different. Of course, in the hands of talented composers there are exceptions. Ligeti comes to mind, though I can't say how strictly his work adheres to the dogma. Here and there. I do find this adherence a little like political correctness in that if you don't follow the dogma, you can be ostracized because you are not with the program, you are not a "serious" composer. It certainly was that way when I was in school. So I would say that the proponents of serial techniques have more of an intellectual, pedagogical bent. And being the cynic that I am, these same composers conveniently eschew tonal music, and further, as it has been pointed out here before, use serial technique to subconsciously throw sand in the eyes (ears?) of the listener, because maybe they don't really have anything to say.