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Hi! "A voice from a distant place" - This small piece is harmonic variation (played in different mode) from celebration march for 1-2 instruments that can be any suitable instruments and the 1st line can be played alone. I have composed this and the original march few years ago. (It may have some influence from Konsta Jylhä, who was finnish folk musician, who was known in 1970's.) The second line stops playing in the middle. I think this is better than the original march. EDIT: i added mp3 and pdf file for original piece harmonic variation of celebration march.pdf harmonic variation of celebration march.mp3

I composed this piece when I was 14 years old for the 2nd Szokolay InspirArt Composition Competition, where I won a special prize.

my submission for the christmas music event

Thank you! I did not write the English text and the poem. In the solo I also sing this part: "Soft enough, fine as wool" 🙂 "trumpet tak" is the verb "trombitál" which in English is more like playing the trumpet. I'll also show you a picture of the main character of the song who is a soft toy animal in a children's library and his name is "Körbi". The name of the library is "KörBirodalom" which is roughly equivalent to the Circle Empire in English.

Thank you! Yes, I composed the music. I got the video without sound and had to compose a score and put in some sound effects. Unfortunately, I didn't make it to the semi-finals, but I'm glad you like it!

That's a problematic one😂. I am wrong to post my first video here with a 1 hour long piece. I thought then I should post a piece worth this forum, but evidently that's too much. I should just split the movements. I love that cool sound effect of a prelude-like or exercise-like piece. It serves the best for your piece. A beautiful melody would for sure ruin it. That's definitely great news! Henry

Hi Henry! I am glad you did. I still struggle to find time to properly review you quintet in C minor. I am glad you liked the piece. We'll see about the rest because they keep getting weirder. This nocturne was just intended to be an exercise for a friend of mine but I kept on making and putting more and more ambition on each following one I made (with some exceptions). Indeed the measures you pointed sound baroque, hehe. It literally sounds like Haendel's famous Sarabande at least to me. I am glad you do skim through them! It's is true that for almost any piece a careful listen gives you more in-depth understanding of it but I perfectly understand that time is scarce. Mine is too, and as much as I like to review things here I often have to do it during night. I will definitely post another piece soon. My sincere thanks for your feedback, Henry. Kind regards ^^!

Finally have time to react on this one. As many things are commented by @Thatguy v2.0and @Alex Weidmann, I will just keep it short. I love your sound. It's so unique that it's not something easily imitated and commented on it, especially that of mine. In this nocturne, it is dark with the dark e flat minor, but the flow is so fluent, like a dangerous current in a river, not easily recognizable but can be fatal. I don't find the lack of melody matters at all. Conversely I love how cool it is to have no apparent melody at all. Even the melody is bar 45-52 seems baroque for me, which is chordal progression split or reinforced. I love you do not try to be sentimental or romantic: it keeps as cool and cold as the music has to be. Beethovanian elements do appear explicitly here, with notable reminiscence with the Moonlight sonata. But I also find this similar to a chaconne: Both in triple meter and minor key, with the harmonic progression quite similar throughout the piece, and texture is continually varied. It creates objective but cool effect. I only skim through your other nocturnes, but do not listen to them attentively. I will if I have time😄!! Hope you can post more of your works here if you would like to! Henry

HUH? Wonder less, compose more!!!! Okno. But honestly I never think of my own creativity nor I think about my compositions on those terms. In all honesty, I have always composed for myself. Publishing my work is something I have hardly ever done up to very recently, in fact I do it because someone found an old waltz of mine and made me a donation a year ago, so that made me think "well perhaps someone apart from myself can enjoy this". However, the fact my objective public is myself doesn't mean I like all my pieces, I do find specific flaws on them just like that guy John Williams (is he famous or something?) and Left Unexplained said. I don't know what writing music is about or should be about. I just write it because yes. But I do try to find my limits and push them further in some pieces, sometimes unwillingly at the beginning. I honestly don't know what happens in your brain when you hear your music over and over. Hmmm. 1st: I look at the paper or the PC. 2nd: If I have an idea that I previously played or imagined, I try to write it. I sometimes use taptempo.io to check around which bpm my idea can be written. In the past, if I didn't have an idea, the process stopped here till something came to mind. Now, I FORCE my brain and get the idea. 3rd: I compose. 4th: I listen to what I compose, via digital interpretation or via playing the key sections, chords, notes, whatever, myself. If I feel it's not enough, back to 3rd step. 5th: I put the paper in musescore (in case it wasn't directly written there) and properly engrave it. 6th: I click on export in PDF format and mp3 format, sit back, and enjoy or get disappointed, or anything in the middle. This is my approach :). Depends of the piece. Don't know how much it's too much. I lately seek for other composers to listen to anyways. This forum, free-scores and youtube in that order are my primary sources of new music. Kind regards!