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Hi guys, Here is a part of a Trio for violin, cello and piano I composed in 2017. What do you think?

I composed this short thematic idea and I would love to see other people create a set of variations on it. If you need more information check the description of the channel or ask me. 🙂

Thank you very much for the time and thought you spent in your comments. I checked out the link you provided to learn about the prinner and other schema. This information will help me compose better in the galant style. I really appreciate you spending time to illustrate your point with the alterations to the main theme, thank you.

@Ivan1791 Hi If you mount a challenge based on the variation concept you should admit any possibilities. Do you pretend to keep what happens in both hands for a variation? I thought of writing my own one, but I'm afraid it would totally be out of context. Why do you say that Ab is important? Interestingly it's the most dissonant spot...

OK, this makes sense now. Sorry for the confusion - i must have become confused with the traditional form of theme and variations.

I love this, and as a matter of fact I have a great interest in the Venus Project as a teenager, and still exercise an open mind to their ideas. I do find it unfortunate, however, that most people find it difficult to approach such concepts. Our conditioning teaches us how to survive in the world in which we are born. Most people therefore will reject by default opposing ideas, often reverting to prima facie associations to discredit their challenger. One thing that is clearly evident in the course of human history is that social change most often occurs very slowly. Anyway, it was inevitable that your audience digress from your beautiful music due to the topic of inspiration. But, as it turns out, I have listen to the whole thing during the time it has taken to respond to this post. Thank you

Possibly Schubert's Erlenkönig. Perhaps there were other songs. Most of my stuff is through-composed. It started, modelled on Villa-Lobos' Quinteto em Forma de Chôros. Now isn't the place for autobiographical stuff but it was the key to escape the attempt of musical education to serialise me so it's been hugely influential. A musical Eureka moment. Motifs may be developed locally within an episode - extending, widening the tessitura; making small variations - and sometimes borrowed by other episodes. But I've written a few pieces that have no melodic development. I don't post them here as they'd receive no comment - which means they're above criticism LOL, but more likely because they don't make classical sense and people think 'what the heck is this!?' Edit: In fact H Villa-Lobos' Nonetto, Impressão rápida de todo o Brasil is another example of his composition in this form. Another composer closer to our times was Elizabeth Lutyens.

I'm not sure what that's supposed to mean... does he have a reputation as a non-motivic composer? Lizst was a big fan of through-composing. Many of his piano sonatas are written this way. I don't know of any through-composing composers from the classical period.

What you are describing is termed through-composed music, particularly common in songs. "Bohemian Rhapsody" by Queen is often cited as a good example of this.

Its really reminiscent of Beethoven, with the rather dark themes. I do agree there needs to be some variation. And yes a change in register may help, like make the piano go much lower, if you like. I also suggest that the piano can take up parts of the cello, so as not to just make it a mere accompaniment. You can also consider more techniques for the cello, like double stops and pizzicato. Its an interesting piece, and I have to see more developments!