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Yes, I saw them. Particularly in the canon there are many natural cross relationships and I realized only after composing it. I do not consciously try to use them, they just seemed to come out naturally when thinking melodically. But I liked how they sounded so I left them there 😅. Thanks for pointing that out! I also though the end was somehow off (I always have so much trouble with the endings...) so I changed it to a simpler straighforward one for the moment (I-IV-ii-V-I). However, I will analyze some fugues to see how they end those (did not know that the plagal cadence was sometimes used for the endings on fugues, since they are not so common for ending pieces in other forms). Thank you for commenting and I am glad you enjoyed it! 🙂

These were the submissions I received.

Thank You for the feedback; it's actually really helpful since I hope that in the future I'll find some violinist to collaborate with and in this case I would definitely rewrite it. But please tell me "imo" means like imotion or is it something else?

I like this piece! Your youth is showing! Just a minor critique regarding the order of your instruments in your score: the string orchestra should be the bottom-most in the order and the soloist should be right above the 1st violins with the percussion right above that. Also, during long periods of silence the timpanist can actually slightly re-tune any of the drums to better fit the harmony that might be coming up in the next section - I just noticed that you were using low A's in the timpani in a section that was generally in E minor which seemed unnecessary. I like your instrumental combinations that you choose to accompany the soloist in the 2nd movement (the oboe especially). The combination of horns and bassoon is also really nice. I think I would have enjoyed the 3rd movement even more if you had written more complete sounding phrases imo. Your phrases always seemed clipped or using elision too much (where the end of the phrase is simultaneously the beginning of the next phrase). I think the melodies need a bit more space to breathe that's all. Thanks for sharing!

My new piece inward and outward for solo cello, let me know what you think! link to video - https://drive.google.com/file/d/1MOlDkXuxEFvl2de9HGk0YG6wrlzijTCN/view?usp=sharing

Nice work, I like some of the chord choices (bars 10-11 of first movement etc.), the overall sense of a flowing structure, some of the virtuosic writing for the violin being welcome after sustained passages with long, high notes - though I wonder if the violin is generally written too high throughout? (It doesn't have to have an entire movement written sul G, all gruff and daggers, but more of a contrast in the writing for the violin (mostly in articulation) might give the piece more flavour.) I would have also liked a faster movement in there (the fastest being the last movement, which has quite a moderate feel). That said, there was a lot of good writing, and writing a concerto is always an ambitious undertaking!

This is the result of an art trade (or collab) I did with Michellle Walker (an artist who draws). The point of the piece is to describe some kind of mysterious and nostalgic atmosphere. (I have spent more time in this piece than what I'm willing to admit.) This piece is a bit experimental from a formal point of view. The idea was to set all the main motifs of the whole piece in very few measures (basically the introduction) and then develope them in some kind of improvisational style. So basically the consistency of the work comes from the constant use of these little elements and the aesthetic of the whole piece. I also make use of recurrent motifs you can find in other works by me, like the one/s you can see between measure 2 and 3. (I hope I'm not repeating myself too much haha.) The first motif can be seen in my Memories piece and the other one is based in the same intervals as the main theme in "Gwyn, Lord of Cinder." And interestingly combining both creates some kind of mutated version of the first theme in the 3rd movement of Brahms' 3rd symphony. I got a lot of inspiration from Scriabin and you can see his mystic chord in some occasions. (At least the main harmony of the chord.) The idea was to create some kind of impressionistic piece with Chopinesque and jazz hues. And I also used a progression in measure 15 that pretty much comes from a madrigal by Gesualdo ("Moro lasso"). The best part of the piece is probably around measures 21-24. (In my opinion.) That climax and the sweet chords that descend are inspired in Debussy. Other inspirations are Ravel, Brahms and jazz in general. By the way, this is probably my best looking piano score I have ever done, and I'm quite proud about that. Anyways, I hope you will enjoy it and I'm open to criticism and feedback.