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MOD NOTE: This thread was originally locked with posts removed insofar as they became or led to inciting remarks for further review from me and OP. I will admit that this was a hasty decision and I don’t wish to set a precedent of merely halting conversation upon the first sight of danger, though comments that are primarily inflammatory in nature quickly become irrelevant and are socially unwelcome. I want to be clear that my actions were not intended to silence opinions, but quell the heated argument; in this case, my attempts to make peace overstepped and failed. This thread is now reopened as the previous discussion was good, and while I deeply apologize to those involved that I cannot replicate the removed comments, I do hope the conversation can continue as it was, civilly and thoughtfully.

Hi guys, So this is my current project for those who may be interested. I have been listening to a lot of Baroque music lately, particularly the work of Zelenka. I hold his music in great esteem, particularly his trio sonata's which provide an infinite source for inspiration. A favorite of mine from his instrumental catalog is his trio sonata in G minor, number 2. The opening theme of this my work attached reminds me of something one might hear in an aria by JS Bach for Tenor or Bass, as part of a cantata work. I am a big fan of his cantata's and I would not be surprised if I there is not anything derivative from that body of works. This is the first time I have used keyboard, oboe and bassoon as a combination and I must admit I quite like it. If there is enough interest in this post I may be persuaded to do a self-analysis of the final work for those who might want to learn some of the schemas I have used here.

Hello everyone! I've been away from the forum for a couple of weeks, we all know times have been crazy... However, I had finished my Sextet for Winds and Piano some time ago, and wanted to share it here. As always, feedback is extremely appreciated. Thank you for listening 🙂

Thank both of you. Specially Bradley Scarff, whom I answer I'm not currently trying to compose a fugue on every key, since in that I would perhaps need to invest years accomplishing and I'm not particularly interested on doing that at the moment, mainly because of the fact that I'm a bit biased towards certain keys and not so familiar with others, so I think it isn't yet my time for that. Thanks for your kind opinions, it really encourages me to continue and progress on these things!

Personally I think that's quite a significant task (continuing the Bach-Shostakovich tradition of 24 preludes (and fugues as well perhaps?)), and I wish you the best of luck on it. The prelude itself was to me harmonically pleasing and calm, emulating well the character of C major and with relatively interesting modulation transitionings without getting out of its key signature. Well done! Looking forward to seeing more preludes of yours in each key!

Fantastic, are you writing one for each key by they way JS Bach style? either way out of all of these fugues I've listened to this one is easily my favourite. There is a moment around bar 25-28 that was truly fantastic though I cannot quite put my finger on it. looking forward to the next one 😁

I'll judge, too.

I always got that feeling when I was trying out systems of composition. Usually stuff where there was some mechanism by which music ended up being made, which wasn't informed by my tastes in any direct way. I think all those were really interesting experiences and I revisit them often, because there is something there that I can't consciously create. Just like a set of counterpoint rules are agnostic to your music tastes, there are a lot of techniques that color music in ways that you would otherwise not even think of doing without them. So, I'll give you an example: And you know how the score looks for this? That's process music, right there. The instructions create sound, yeah, but there are so many things left to the interpreters, to the room, etc. It's experimental in that each musical result is different every time (it's not exact at all.) Is it a piece with a concept? I don't think so. Steve Reich thought it was kind of funny if it's done right, supposedly! The actual sound you get from this is quite strange, but I think the greater lesson is not that microphones and speakers make weird noises, but that you can extrapolate this into just about any genre of music. It all depends on what kind of system you want to use, how exact you are about it, and what degree of "randomness" are you willing to accept.

Would an introspection piece be good if the "phobias" topic wins? Like show my dark psychological facet (depression, anxiety, aphaty, dichotomic thoughts, etc.). I guess it would work well because it is what I fear of myself.

This is just why I am feeling sorry for Alma, because she lives in such a private, elite atmosphere, it is hard for her to go outside the box of what her environment offers her. Of course, but you said you wanted a new generation of people that would write beautiful music again, assuming that you mean going back to traditional music and the style Deutscher writes in. I disagree with this hope, I strongly hope not we go back to the days of Mozart and Beethoven. Instead, I prefer to find beauty in different musical languages than the ones that were. Therefore, I am a great admireror of Messiaen. He seeks for beauty in his own language, which is not that far from tradition as it seems.

This is usually what happens when children are involved. I don't really understand the point of being antagonist towards other people's tastes in music, plus, writing music in different styles and aesthetics is usually a powerful learning tool.