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Hello Guys, This is my newest work, The Betrayal of Arkalla. This is also book music, like the previous. I think the choir becomes really epic. 🙂 What do you think?

Hello guys, long time no see. I have been quite busy and I struggled a lot with this composition, but it is finally over and I came here to share it with all you. ^^ I hope you don't mind me copying the video descrition, I'm to tired to do a custom descrition here. This piece took so long to compose, around 45 hours. The main reason for that was that I got a mental block with it and I couldn't tie two sections of the work. I'm thankful to Carlos Barbé for enlightening me and making realize a couple of key things that I needed to sort out in order to do some progress. This is the last composition I will do for my "Dream Fantasies" set. After some consideration I decided to let the performer decide in what order to play the 3 pieces. I wanted to offer some freedom and let different musicians decide how they understood the whole thing. The piece is filled with lots of references to Nostalgia and A Sleepy Apology, so it can work as a nexus or a summary. This piece in particular is quite abstract, but its main theme is time. What it really means... Unfortunately I couldn't get a better performance because I finished this piece yesterday (31/01/2022-08/04/2022) and the most technically challenging fragment was the last thing I did. So I had vitually no time to properly practice the thing and also the piano where I played is super unbalanced (sometimes you play a key and it doesn't make a sound and in other instances it sounds too loud). But I think at least I got the right mood I had in mind (even though I calculated the piece should have a duriation of around 5' 40", so I played the slow section way too slow, sorry about that haha). Hopefully I will be able to record in my own piano in the near future. Oh, and I played this while having some kind of injury in my feft hand index finger, so yeah haha. And my hand hurted a bit after the loud section with 4ths, I don't know what I'm doing wrong to get injuries so easily. Thank you to everyone who supported me and showed interest. See you soon. 🙂 Also if anyone wants the score send me an email to ivanmusic1886@gmail.com . Although I'm still doing some modifications and even this recording has a detail that I changed in the score (not a big deal tho). Link:

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For the last couple evenings I have invested most of my energy into finishing this fugue, which as shown below the title is coupled with an aphorism in Spanish, my native language: "Cuando cae el respeto a la muerte, decae la vida misma", which, leaving aside metaphorical extension, would roughly translate into English as "When respect to death is lost, so degenerates life." Even though said aphorism wasn't the main inspiration for this piece, I thought it was a nifty addition given the fatigue and withering emotions it was intended to wake on the listener. Since it is difficult for me to describe the nuances of this one as strictly "enjoyable", I guess the most appropriate closing expression for this one would perhaps be "feel existential" or something on those lines.

Many thanks! I'll send you the score over PM. I really should comment on this site more!

Wow, pretty epic chorus indeed. Musescore 3 doesn't let me do that, lol. No, seriously, it's epic!

Written in C flat like a true pianist I don't know if it's just me but some of the chords in the left hand sounded muddy, maybe try playing them higher or just spreading them out more. Nice melody

Here are a couple of suggestions from a formerly decent but now out-of-practice clarinetist: 1. Swap out the B-flat clarinet and opt for the A. Your key signatures, mostly 3 and 4 sharps, will change to 2 and 1 flat. The cadenza section is in 1 sharp but with accidentals you're asking the B-flat player to play mostly A major and E minor arpeggios, which will change to B-flat major and F minor, and those aren't any more awkward. 2. In the cadenza and the section that follows you've got a number of extended fast passages with toungued articulations. This is very difficult; and even if you have a clarinetist who has mastered double-tonguing (harder on clarinet than most other instruments), it will probably never sound as clear as you're intending it to. It takes time to stop the airflow (which is what you're doing in double-tonguing half the time, not stopping the reed), re-start it, and re-establish the vibration of the reed and the air column. From a compositional standpoint, I like the overall feel of the piece, but to my ear the chord changes in bar 50-51 (Bm7-E-E7-A7) feel jarringly out of place. Like 2 bars of 1970s pop -- where did that come from?

Hello! I have already posted on this forum in this topic. This is actually a book music. I have been working on my fantasy story, the first book will be published in May, and I would like to create the main themes of the book in the language of music.