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Here's something I composed about 2 years ago (and I think was my first post to this forum!). I recently went through and updated the score and audio, thought I'd put them here for others to (perhaps) enjoy. This was my attempt at a pastiche Romantic viola concerto. Violists don't have much in the repertoire, and I was looking to expand it. It hearkens back to my tonal days, and proves that I don't just compose modal music! There are three movements, like a traditional concerto: moderately fast, slow, fast. All told, the work is around 35 minutes long, so feel free to listen to it by movement. I'd love to hear your suggestions and feedback. Happy listening!

A light-hearted orchestral piece which I first wrote about 5 years ago and reworked earlier this year. I'm pretty happy with how it turned out, but any feedback (positive or negative) is much appreciated!

I really enjoyed that! Specially the Allegro. I though the melodic flow was great and I liked how nicely used the circle of fifths was. I agree with PaperComposer about the Lento being somehow a little bit more repetitive and less exiting. I do not have the skills to analize the piece as well as PaperComposer did so I will just comment on two things I though about while listening to it, which are only a matter of personal taste. First, I felt the root (the note C) in measures 3-5 was repeated a little too much. The C in measure 4 might be better as an E to avoid the repetition. Also, I somehow had the need in measure 5 to hear the same melodic motive from measure 4 (the ascending scale to A) with a different ending after reaching the A. Lastly, I also would have liked to find more sixteenth notes in the bass since there are many in the melody. For example, in measure 1, the bass movement from G to E could be changed to G-F-E, which would then create a kind of "answer" to the sixteenth notes of the flute. Same in measure 2. As I said, these changes are all a matter of personal preference and since I have not tried them out they might even sound bad. I enjoyed the piece! Thanks for sharing!

In the Lento what jumps out at me is how you overuse (imo) sequencing (measures 5 - 8 ). Sequencing is a type of repetition just at a different pitch level because the ear quickly recognizes the pattern so it's best not to overuse it. Usually the magic number of times a sequence can be repeated is 3 but in bars 5 - 8 you repeat the pattern 4 times and it gets audibly tiresome. I personally would look for some clever way to break the pattern after the 3rd time it's repeated. Also there are some places in the Lento that sound like a run-on sentence in the melody (measure 25). That whole section around and following measure 25 sounds very meandering and aimless to me. It just lacks a clear phrase structure. There are natural places that you could seek out in your melodies where the melody settles down and rests and pauses before going on which would avoid this kind of aimless wandering that I perceive here. Whenever your main theme returns you also seem to get your groove back so to speak with this idea of a natural ebb and flow to your melody so it's clear you know how to do that. Your Allegro also doesn't seem to have any of the aforementioned problems and is (to me) much more enjoyable than the slow movement. Besides those remarks above this was an enjoyable piece!

Yes, I need an Indian model to sit for my next fugue. Thank God I know where to get one now!

Ruins No. 1—This one had a great "death-to-life" vibe that I really enjoyed, an explosion into deeply arpeggiated chords in the bass and joyous full chords in the right hand. Though difficult—mostly because of the competing rhythmic meter (triplets against duplets, for example)—it is playable. You make great use of harmony in this work, and for that I commend you! Score looks great! Cleanup on mss. 49-50 (bass clef). I'll review the others as I have time. Thanks for sharing!

It's always cool to see composers from the long long ago that I recognize still writing and improving. Awesome work here. I'd agree that it was pretty heavy harmony throughout, and I'd question playability sometimes (giant rolled 3 octave chords in the LH for instance), but I'm just a guitarist and don't pretend to be up to par in playing your piece on piano. What I love about this though is the absolute uniqueness in your writing. I could sort of see parallels with Liszt's rhapsodies, but more so in their virtuosity rather than thematic content. I really admire your tonal yet extraordinary colorful style in writing; it's something I strive for in my own works. Number 4 was probably my favorite, it captivated me from the start and was a nice contrast to some of the more bombastic parts. Even though the suite as a whole was pretty dense, I think keeping the pieces on the shorter end was a wise and strategic way to convey the message, as it never got too overbearing. Thanks for sharing, and well done!