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I think that I posted my scores for the first two books of the Thrawn Trilogy from the Star Wars expanded universe here a while back. I've finally finished the third of them, The Last Command. The idea was to write somewhat in John Williams's style, incorporating his leitmotifs but also writing new themes for the new characters. The main title and end credits open with the traditional formula from the films, but apart from these bits, but apart from these bits, and the leitmotifs, it's all original music. I wrote all of this directly in the sequencer, so unfortunately I don't have a score. Counting all three scores, this was a project I worked on, on and off, for over a decade, and it amounts to a total of about three hours of music, so it's satisfying to bring it to a close. The full soundtrack is an hour long, but if anyone cares to listen, please feel free to jump around and just listen to individual tracks. Any comments or criticisms would be most appreciated! YouTube playlist:

Hi all ... This is a work in progress ... so please excuse the engraving. Now this is a work I began 4 years ago and last week I decided to work on it some more. So this is where I am in this endeavor ... all comments welcome. Mark

There is a long tradition in this country of mine (Spain) of writing pieces for the piano "thinking" in the guitar. Most of them are related to the genre of flamenco, or pre-flamenco (because it was fully developed in the 19th century). We can find pieces of this kind in teh Baroque period (Soler: Fandango, Scarlatti: Fandango). But it is more characteristic in the romantic-nationalism period. The most famous piece is Asturias by Albéniz (which many people think it was written for the guitar, but it wasn't). But also Lecuona, Granados, Turina You can take a look at this pieces here: https://komptools.blogspot.com/2022/07/obras-para-piano-que-se-pensaron-para.html Having this all in mind, I took an idea from some months ago and wrote this simple piece Please, note that the andalusian cadence (Am-G-F-E or similar) is not in A minor, and it's not phrygian (nor dominant phrygian). It's just the analusian cadence, a mode by itself.

I am making a rondo and I am a bit stuck on the C section. I have entered into a nice passage in E Flat Major, transitioning from C minor, in which there are 9-8 suspensions over the bass, before reaching an interrupted cadence (could easily be adapted to a perfect one of course). Can you please tell me whether closing the passage with either of these options leave more to be desired? Perhaps it may be better to have more versatile harmony and extend the suspension passage work with further modulations. Although I am conflicted as I like how the passage initially invokes a reprise from the more dark material that preceded it.

Hi. I think this kind of pieces with ostinato parts are quite challenging. This sounds like a variation based composition. In some way it reminds me to the minimalism. Nice.

Hi, nice work. This is a never boring piece with some good contrasts, I particularly enjoy the way some energetic parts lead to other iconic sections. Buen trabajo, también me parece muy idiomático para el piano. Saludos.

Hi Peter. My idea yesterday was to just make a post and go but I could not resist looking at some other posts and well eventually I spent some hours on that lol. As I said before somewhere, I enjoy listening to all you guys' pieces and spending time in this forum, plus flooding it with my pieces doesn't seem beneficial to me nor to anybody else. Regarding your comments: I will definitely take a deeper look into Bach and other Baroque composers, the overuse of arpeggios you mentioned may be true, this piece definitely has some in sections like M32-54 but I am not sure if it's a constant in all my pieces, though I must say there's another waltz of mine that possibly has even more of that. In any case, I believe there's still a long path to walk on. Specially at that time, I wasn't nearly as productive as I am now, nor I did not consume music the way I do now. Regarding the overflow of complex ideas I do think this is something I am starting to control. There are some pieces of mine in which I intentionally present many ideas though we can agree this is not very effective. At the time I composed this I wasn't thinking on my pieces on those terms so I could not have seen this. I do see it now, how the different sections of this piece are perhaps too many and too different for the time it lasts. Thank you for your feedback, it is always fulfilling to read criticism that makes me analyse my own pieces or look at them by a different perspective. Kind regards, Daniel–Ømicrón.

Thanks for the review ... and YES this circus has dancing girls (maybe even with snakes)! Glad you enjoyed my work. It's a real pleasure when someone can identify a composers stylistic elements etc................

I must admit this thread has taken a puzzling turn. The discussion makes my critique look rather pale! As a reviewer I have to be aware that I’m not the composer so there’s no point in referring what I’d have done re my own preferences. Rather than think how I would have composed it, it’s what I felt the composer was trying to develop. So any suggestions have to be seen in that context. Hence it’s often useful to have the score to “see through” the rendering where necessary. I felt that as an accomplished composer you’ll know what you’re after plus or minus a few details at this stage and, given it’s a multi-movement work, would almost certainly make adjustments small and large as you went along and probably on completion – in keeping with your own style and taste. Likewise, Noteperformer, while very good, does have a few oddities thanks to its part-modelled (rather than sampled) sounds. It can deceive, hence again the score is useful. So, please accept that my critique wasn’t intentionally superficial. I had no problems with the balance of consonant v dissonant. And I do believe that violinists would individually interpret their solo as they saw fit. Benedetti would sound nothing like Kennedy, etc! Cheers.

Hey - first I just wanted to say thanks for all the great reviews and observations you've been dropping around the forums both on other members pieces as well as my own. I hope you'll always know that you're a valued member of this community. I love the many differentiated dynamic levels you present in this piece. The piece seems like it's always going somewhere, whether through gradual changes in dynamics or gradual changes in tempo. I enjoyed listening to this piece over and over while writing this review. That said I think you overuse arpeggiation as your main melodic material. I'm kind of used to it by now and actually enjoy it but your melodies tend to start to sound like harmonic noodling after a while. They seem to wander up and down the keyboard sometimes seemingly aimlessly and are interspersed with haphazard and jarring rhythms and the aforementioned arpeggios. I think to improve on this tendency you could either play or analyze some Bach, whether the 2 or 3 part inventions or any of your favorite inventive or fugal pieces and notice how self-similar and concise the melodic material is. It's most likely constructed out of a few very short and simple melodic fragments that are then manipulated through elongation or concatenation or inversion etc. Your piece on the other hand has a bunch of unrelated complex ideas thrown at the listener in a relatively short amount of time. And you connect those ideas with harmonic fluff. Not that I didn't enjoy it though - many spots show lots of character. And maybe you consider the characteristics I mentioned as the constituents of your individual style. If that's the case then it's just a matter of taste and you can disregard my complaints. Thanks for sharing though - I hope you continue to post your music and hopefully my comments were at least a little helpful.

A fun little piece, with interesting harmonies. My only critique is that, at least in the audio you provided, in the section at m. 69 where the piano takes over the melody, it seems to be covered up a bit by the violin on the ostinato. But I imagine in a real performance, the violinist could get a little softer there to get "out of the way" of the melody.