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The Ballade in E-flat minor was written in 2021. Though it is written for solo piano, I had intended to write it for piano and orchestra, and may make a version of it for this ensemble in the future. The piece is about 8 minutes long. I hope you all enjoy it 🙂

This is a piece I finished last year but have been tweaking a bit since then. The idea was to write a prog-rock piece in the form of a Classical symphony - the first movement a sonata-allegro with slow introduction, second movement is a loose set of variations, third movement is a scherzo, and finale is a modified sonata form. It's all done with synthesized/sampled instruments, which obviously don't sound as good as the real thing, but I'm not altogether unhappy with the way it turned out. I provide a score transcription as well, even though the piece wasn't really written with real players in mind, so some stuff is undoubtedly difficult or unidiomatic. Anyway, any comments or criticisms would be greatly appreciated! Thanks.

That's just the way( that we have to make) It's the hardest thing i ever did Stop thinking about you You were my addiction More than anyone at all I wish you could see all of that But you have goned You were my brother And you left me with nothing Not even a goodbye I couldn't have survived, Without you, on my life (Huh, uhhh) Now i realize How stupid i was, letting you go And all the verses While i wrote Was hurting See you happy And I, sad But you are my brother Nothing matter I'm glad to see you smile But that's just the way that we have to make But always remember This isn't a sad song Maybe the fact that you, didn't anything wrong Yes, you broke my heart But it is the way You and i separated, From each other (Ouh, ouh) I will just accept that, Even that you are goned, I will always love you Remember, brother my, I always be in your side, and i will always be there for you But that's the way But that's the way But that's just the way that we have to make.

some sections of a new song im working on today, since yall wanna hear what Ive been working on! https://www.youtube.com/watch?v=dQw4w9WgXcQ

Thanks @PeterthePapercomPoser About the funeral march, didn't came to my mind, but I get you for the main theme ; why not after all 😉 True that it might lack some variations or breakthroughs... On the other hand, this is an andante casi adagio, which aims at a slow paced development without too many emotional demonstrations. Didn't mean to go through many key variations. Thanks for reviewing !

This sounds a bit pedestrian to my ears (I don't just mean that it's at walking tempo). There doesn't seem to be very much differentiation or different sections in the piece. It sounds as though it proceeds without any climax or respite. It would be great to hear some more sense of urgency or purpose to the music. The main theme is quite melancholic but I think it lacks a kind of breakthrough development or a sense of breath. Maybe having a contrasting section in a different key is what I'm looking for? It also sounds almost like a funeral march - I don't know if that was your intent? The piece also stays in pretty much the same key throughout except for the end. I guess you warned us about the end but it does seem like you just made a kind of artificial authentic cadence and called it a day. Sometimes that kind of harmonic motion can make the whole piece seem that much more resolved since the whole piece could then be interpreted as a big V - I but in this case it doesn't sound resolved to me. Of course - these are just my own personal suggestions and observations. Thanks for sharing!

Hello everyone! I recently finished composing a fugue for brass trio as a second part to the canon for brass trio that I posted some time ago. Since I do think that both pieces belong together and sound much better together, I post both pieces as one. The canon is a strict canon at the octave for the most time, but on measures 15, 21 and 22, the canon is broken on the top voice in order not to reach higher than the high C. The fugue starts at 1:45. It starts in Gminor but finishes in Gmajor (in the same way the canon started). It has a theme (subject), two countersubjects and it contrasts in rythm and tonality (since it starts in Gmin) with the canon. The measures in which the subject (or the tonal answer) appears and their tonality are the following: m.30-37: Gmin subject | Dmin answer | Gmin subject m.42-45: Bbmaj subject | Fmaj answer m.48-50: Dmaj subject m.53-54: Emin subject m.59-60: Gmaj subject Any feedback, suggestion or comment is welcome. Thanks for listening and hope you like it!