Leaderboard

Hello everyone, Here is my first piano trio, which I composed several years ago. This was really a challenge for me, with a lot of thoughts and a lot of work. Recently, I made a revision of the score, which I am posting here, (but there are probably still additional things to correct). The piece consists of three movements, following a classical style, with major influences from Beethoven, Mozart, and particularly, Schubert. I hope that you will enjoy this piece, and I am very interested to obtain your critical comments. Best regards

I started this music in Spring of 2016, during a difficult time in my life. It took me three years, on and off, to finally finish it. During that time my second son was born, and I changed careers. So this music guided me through many life experiences, and was in turn inspired by those life experiences. As a result the sonata takes the listener on a real journey through my wants and hopes and dreams and emotions. It’s a tour of my psyche. This music is riddled with hope. It’s everywhere you turn in this sonata. It’s the main theme of the whole damn piece. Turns out my psyche must have a lot of hope in it. Oh there’s other themes too: love and healing and time and growth. They all wind around each other, they are all intertwined. This sonata is also really dang long. I started to say something, then had more to say, then more and more and more. The story takes its time to unfold. If you listen to this whole piece, you will drink deeply from my well of creativity. I hope this music inspires and touches you. All feedback is welcome! Layout of the piece: Movement 1: Lovejail Movement 2: Looking for a Sunset Bird in Winter Movement 3: Not Yet Lost (Theme and Variations) -Theme: Mazurek Dąbrowskiego -Variation 1: Amoroso -Variation 2: Gavotte -Variation 3: A Joyful Adventure You can read about the composition process of this music here.

Hello, all! Here's my most recent composition. This is a more sonorous piano piece, less "dissonant" perhaps, though it's still based on the symmetrical scales of the prelude I posted recently. The title means "silver nocturne," and is intended to be liquid and smooth and placid, like rippling moonlight on a quiet lake. It will likely become incorporated as a "slow" movement into a larger work. The work features motivic, rather than thematic, development; you will notice the same motif weave in and out of the sections. Please let me know what you think of this. I'd love feedback of any kind! (This is a live recording so I do apologize for some of the choppiness in advance.) Happy listening!

Hi all, It's been a while since I posted anything at YC. I had hoped by now that I'd have something live to share, but the pandemic has greatly curtailed performing activities here. I'm generally reluctant to post digital versions of my compositions and am willing to wait a long time for a live recording. But this piece has now been sitting in my drawer for eight years, and with no realistic prospect of having it performed any time soon, I don't think there's a point in holding off any longer. I prefer German 19th-century music styles, generally leaning to the conservative side of the War or the Romantics. I also believe we are at our best when we write the sort of music we want to hear ourselves, and so that is what you can expect of this work. It's in four movements, following the typical sonata form plan. The provided audio includes repeats of the expositions for the first and final movements. I have mixed feelings about this convention and often don't repeat my expositions, but when I listen to the movements without the repeated exposition, I personally find the pacing is negatively affected. That said, if you hate repeated expositions, start movement 1 at 3:20 and movement 4 at 1:55. Forms: mvt 1; Sonata-Allegro mvt 2: Rondo (ABABA) mvt 3: Scherzo and Trio mtv 4: Sonata-Allegro As most of you know, I am not comfortable sharing my scores online. I apologize to those who would like to see it. Hope you enjoy!

I see you saw my post about my planets suite in the Composers Headquarters. And @Tónskáld I like your nocturne. Interesting how it alternates between 4/4 and 5/4. I've never pulled off that kind of seamless time signature change(I have pulled off a 3/4 to 4/4 change though in my Nocturne dei Fiori). I can imagine alternating meter would be hard to pull off so seamlessly as you have in your nocturne, especially between 2 time signatures whose meter isn't even related like the 4/4 and 5/4 alternation going on in your nocturne.

That is quite an evocative description! I think if you orchestrated this piece you could even further bring out the "silvery" color of this piece (and I think there's quite an interesting discussion of orchestral color that you recently participated in). It was the high end of the piano which @caters referenced as being used to portray an icy atmosphere so it's ironic that you would use it here to depict silvery rippling moonlight on the surface of the lake. Although, in the score you never venture above a mf in dynamics it felt like maybe on the whole the piece didn't have that "whispering" quality that I would expect of night music. Of course, if you orchestrated this you would have much more versatility in making it sound that way I think. To me there are many places in this piece that evoke a kind of slow windy-ness. Thanks for sharing!

Hi again! This is another one of my dances that I recently found in my old archives and managed to finish (albeit a bit awkwardly - I think - could you let me know what you think of the ending?) It's a Bourrée in F minor for String Orchestra. Usually Bourrée's are supposed to have two eighth note pick-ups (as opposed to Gavottes which have four eighth note pick-ups) but I thought this still qualified as a Bourrée because of it's character. So let me know what you think! I composed this many years ago but am still open to constructive feedback in whatever form you wish to give it!

A piano piece written while in a certain mood. I think of it as a sort of reflection while deep in thought. also an experiment using extended chords. written in a more romantic style. any thoughts welcome.

Hello everyone, This was one of my early pieces after starting to compose (about 10 years ago). I have reviewed it again, and made a number of changes. There may still be remaining notation errors and I would be grateful if you could inform me about them (and of course also for any other comments). As you will notice, the piece is Chopin-inspired. Best