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So uploading WIPs is something never do. Or rather, never have done since waaaay back in the day. But I was messing around tonight with my guitar and jamming over a drum loop from a pack and thought maybe this is the start of something a bit more in line with the Guilty Gear sort of soundtracks. Curious to know what you guys think. Where do you see it going and what kinds of things come to your imagination? Thanks in advance

I’ve been writing a ballet for the past year (just for fun) and this is the pas de deux (love scene) for the two leading characters.

The whole "almost silent night" theme is really a great touch. Great composition and performance alike! Wow @PeterthePapercomPoser attention to detail much? 😄

Thanks....... Well, it's not. mistake. It is not tied, but slurred. Just an effect.

Fantastic. Like so many of your compositions, it has an oddly hypnotic, mesmerising quality - no doubt helped by the excellent recording. I wonder if you could have developed the quartal/quintal texture at Bar 31? It's a really lovely moment and expanding it could potentially take the piece in a new, fantasy-like direction. Thanks so much for taking part in this event - really enjoyed listening to this submission!

In number 122 you have a crescendo from piano to forte in meas. 3 - 4 which is impossible to play on any Harpsichord I've ever heard of (although there are dual manual Harpsichords that can do terraced dynamics like you have in meas. 1 and 2, changing the dynamic level gradually from one to the other is impossible). I like how you play around with tonicizing both G minor and Bb major in this one. Besides modulating between relative majors/minors you could also say modulate between I and iii (or between i and bVI depending on which of the two you consider the tonic). Other possibilities: I and IV (or i and iv), or i and V (or I and iv). There's lots more possibilities!

I love how this starts very simply by suggesting the "Silent Night" Christmas carol through allusion to its rhythms and some pitch content without directly quoting it. Then towards the end you slowly slip into the theme which makes the variations in a way that makes the whole thing sound familiar. Well done! I think you also found a truly inspirational story of brotherhood during war that is probably unparalleled and unique. Thank you for sharing this! Edit: In meas. 30 you seem to have a high C re-attacked, but in the score it's tied over from the previous measure. Is this a mistake?

There's a catchy motif. I thin you need to explore some "horizontal" possibilities in the piano. Those block chords all the time become a bit tiring. The work is short and it is not too evident.

That's certainly expressive, poetic and honest. There's no need to use word to describe it. Every notes just tell its story, like Chopin's work. It's easy to be disappointed to the world nowadays. War, sadness and tragedy just happen around us every day. What's the point to compose classical music? It seems like even if we compose, that's not going to improve the world a little bit. All is hopeless and lost. But at least we can help preserve that beauty of music and humanity through our music, even though it sounds overconfident and overreaching to say so. We can also record our sadness, joy, fear, anger, pleasure in our music. We can put our thinking into it. We can use music as a means to connect the metaphysical world of religion, culture and morality, and the material world of sound. If we ourselves can give meaning to our music, no one else can steal or erase it, even most of our works and ourselves will disappear without a trace. Time cannot erase something precious that has appeared once, no matter how short that is. Of course we have to make sure we ARE really trying our best to write good music. But we also have to prepare for the meaningful side of music too. What an honour that is to have your work played a great pianist! That's a really great pleasure.