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Hello everyone, Once again, it has been a long time since I've posted anything here. Over the past year, I have been recording my chamber works using the remote recording technique (where the musicians involved record their parts separately), and have just finished recording my Piano Quartet no. 2 in G minor in this manner. I have already posted a live recording of the second movement here (https://www.youngcomposers.com/t38945/piano-quartet-no-2-op-10-mvt-2/), but the quality was not that great. Here, the quality is significantly better, and more importantly, the piece is complete! The Piano Quartet no. 2 in G minor, Op. 10 was written between 2019 and 2020, 3 years after the Piano Quartet no. 1 in B-flat major, Op. 3. It is my longest chamber work, lasting roughly 32 minutes, and has 3 movements. It was actually written concurrently with the Lacrimosa for piano quartet, Op. 11, hence the same orchestration. The whole piano quartet is based entirely on 2 distinct themes, which provide the melodic foundations of each movement. The 3 movements are as follows: Movement 1. - Andante misterioso - Moderato patetico (G minor) Movement 2. - Adagietto - Andante (C major) Movement 3. - Larghetto - Allegro grazioso (G minor-major) I would like to give a huge thanks to everyone who helped me bring this recording project to fruition. Their performances and services were phenomenal, and I could not have done this without them! The performers are as follows: - Javier Orman, violin (Mvts. 1, 2, and 3) https://www.javierorman.com/ - Dima Ratush, viola (Mvt. 2) - JonathanCello, cello/viola lines played on cello (Mvts. 1 and 3) https://www.fiverr.com/jonathancello/do-session-cellist-for-your-musical-project?utm_campaign=gigs_show&utm_medium=shared&utm_source=copy_link&utm_term=engey - Avigail Arad, cello (Mvt. 2) https://www.fiverr.com/avigailarad/teach-you-how-to-play-the-cello?context_referrer=user_page&ref_ctx_id=442e84e2-4238-452e-9737-c8c33da05bd5&pckg_id=1&pos=1 - Myself, piano (Mvts. 1, 2, and 3) Here are the recordings of all the movements: Here is the original video of the second movement: As always, I hope you all enjoy. 🙂

Hmm since there are only six entries, is there a possibility of a reinstatement of traditional judging by @Tónskáld ? Cos we will really like feedback for our pieces from the more experienced members here.

This is a Scherzo and Variations that I just finished. It is my first finished piece for piano and orchestra. Note: each variation is followed by a short (or sometimes not so short) piano cadenza. The theme is in 6/8. The first variation is a 2/4 variation of the theme. Variation II uses irregular meters and frequent meter changes. Variation III is a slow 3/4 version of the theme. Variation IV is in 2/4. Variation V is the finale and is a fast 2/4 version of the theme. It explores the triplet idea in fast runs up and down the keyboard. I didn't write this piece to be particularly difficult nor virtuosic but the final variation is the most difficult and there are moments in the other variations that are difficult. Overall I have to say that this piece is a little rough around the edges and the cadenzas could definitely use some more work, but I'm happy with it as it is and I don't know if I'll work on it more ever. I rarely revise my music, but I would really appreciate your opinions and suggestions. I have a midi instead of a score. Thanks for listening. For an updated version of this piece with score go here: ScherzoandVariationsforPianoandOrchestra.mid

Yeah I hope for a better midi of this

A short piece exploring contrasts between legato and staccato.

Thank you very much for your feedback back and suggestions, they prompted me to revise the score and improve the cadences.

Hi guys! I've been composing for quite a while now, it's been 2 years since I first started composing, so I decided to take a look back at my oldest work, a suite for strings, and share it on the forum. It was originally meant to be played for the string ensemble I was in but because of COVID-19, it couldn't be performed and the few recordings of practices were full of mistakes in the playing. Of course it is very very flawed with many issues such as transitions and chord progressions but I feel it's worth taking another look. Could you guys share some feedback? I'm sure that there is some critique or good points that I may have overlooked in my own self-analysis. Thank you!

I think when you embark on any kind of work, you need to be clear from the start what you want to achieve. Credit to you for seeing it to the end and that for me is a positive sign of your tenacity. Many, including myself at times, will start a project only to abandon it when things get difficult. My honest advice however at this time is to recommend making music on a smaller scale for a reduced ensemble. A suggestion I always make to a novice is to start with two parts only with the objective to achieve a clear and meaningful interaction between the upper and lowest voice. That is, after all, the basis of all good music. Once you have achieved reasonable skill at doing that will you be better placed to consider additional instruments.

You could just call them etudes lol. I never know the intentions of my music before writing or really plan stuff and it turns out unique. Just keep writing, reflecting, and listening. I also don’t follow structure rules ¯\_(ツ)_/¯

For a first work, one thing you without question demonstrate is determination. In order to offer constructive feedback, can you describe what your intentions in more detail? Do you want to depict an imagine or scene (I.e programmatic) or is it intended to serve a functional purpose (i.e for our entertainment)?

Comments from the composer: (I edited the place-name that the composer had included in hopes of maintaining total anonymity.) "So here's my submission for the fall competition. Its a scherzo for a string quartet movement in rondo form, using material derived from the waltz itself. The main theme starts off with the diminution of the competition's material, followed by borrowings of other parts of the waltz. The second subject (b33-40) paraphrases the waltz material from b18 to 20. The third's first subject (b88-89) derives from the actual theme itself with the rhythm modified (the 2nd to 5th notes), and its second subject (b104-105) uses the first four notes of the theme in a rather grand way. The piece, in quasi-classical form, is partially inspired by Beethoven, Mozart and a piece from a friend, which in turn was inspired by Shostakovich. The piece was meant to reflect the architectural Victorian style of the prominent historic building in XXXXXXXX - the Victoria Concert Hall - which is also a famous arts venue here. Attached also here are two audio renditions - one from the music software programme (WA000), and another modified through Soundfront (WA0015)."

I agree; I think there is just enough contrast, especially between the A to the B section. However, I would suggest making the beginning of bar 7 a D minor chord, switching to C major on beat 3, then to the tonic in bar 8. Having 7 be the tonic chord as well as 8 makes it more difficult to tell if the section is ending. It resolves a little too early, in my opinion. Another thing is that at the end of 31, I think the cello could jump down an octave since the top and bottom voices tend to want to move in opposite directions. 32 is great as it is. Other than those couple things, I think this piece is really well written and fun! I'm glad I decided to take a minute out of my day to listen to it. 🙂

Want to give me the .xml and I will export the Noteperformer version of your song?

Thanks for the tip. I've taken into consideration what you said and I think it works better. What you do you think? I also specified the tempo and cut some parts out as I could do without them. Furthermore, I repeated the last four bars but with some altered oboe notes as you can hear.

You have put a lot of work into this which shows. I personally think the sound quality of the MIDI lets it down a little, as it makes it sound like video game music from the 90s! You are welcome to send me the xml of the score, so that I can run on my software so we can hear the difference....

A couple of friends asked me to combine the choral harmonization that one had created with a bass solo section for the other to sing and add an accompaniment for "O Holy Night." Here's what I came up with. I don't usually do arrangements, but it was kind of fun to have an assignment: use these choral parts, use this solo, put it all in this key, I like the accompaniment from this other arrangement, can you do something like that? But fancier? It feels a little plain... Hopefully to be sung at a couple of Christmas concerts by the group that the choral parts harmonizer guy directs and the other guy is doing the solo. (: Oh Holy Night.mid

A lovely arrangement. I took the liberty of applying garritan soundfonts to the voices with pipe organ accompaniment. I hope you like it.