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Hello Guys, This is my entry to the Composer Of The Year Competition by Sonuscore. I would like to know your opinions. Thank you for your comment!

Hi, this is a pice I wrote some time ago (I think I uploaded it here) but I have made many corrections. I love the sound of this "classical" keyboards, but they sound a bit "dirty" by themselves. In my first version (I was unaware of many things) there were chords too thick in the lower register and the result was no good. Now it's fixed. On the other hand, as I always try when writing tonal modern music, I don't like to stick to usual progressions. I believe harmony is a rich universe to explore. I used tensions, unexpected resolutions chords that are major an minor at the same time, rootless chords, linear harmony, etc...

Hey Henry this is a really awesome piece! I want to spend time going through the whole thing, but for now I focused on the Third Movement, but I will move on to the others as I find time. I'll start out by saying your counterpoint skills are extraordinary! You have a gift for constructing fugues, and you're very good at taking small motives from your themes, developing them, and passing them between voices. You're also very good at using chromaticism and shifting between different keys to keep the listener interested. I also really liked the overall structural concept. It appears you have three main contrapuntal sections (two minor, one major, then recap the minor at the end) that are separated by tutti moments that provide structural cadences. I think this helps the listener breathe between the complicated contrapuntal textures. I will say I think you could have done more of this however. What stuck out to me is that you don't revisit the opening motive until the very end of the piece (unless I'm missing it somewhere...). I think a way to give the the piece even more structural unity would be: Extend these tutti "breaks" between your contrapuntal sections. At the moment they seem a little short. Use them as opportunities to develop your the opening motive more. I think if you were to take the opening motive and expand it when you come to these sections it would give the piece more unity, and make the development along the way more clear. Right now I only hear the motive at the beginning, and then 15 minutes later at the end, so it's hard for my tiny brain to see the connection lol. A good example of this would be M50. Maybe have the clarinet play the opening motive here instead of the sixteenth note figure? I also think this could be expanded a little more to give the listener more of a break before launching into the next fugue. Right now it just seems like this is forced in so you can begin the next contrapuntal section. I did take a fairly deep dive at a couple of parts on the voice leading and found a few spots that stuck out to me: At 32:40 - the resolution from beat 3 of M33 to the downbeat of M34 sounds a little odd to me. I think it may be because you have a parallel fourth motion between the Eb in the viola and the sounding Ab in the Clarinet going to a D in the voila and the sounding G in the Clarinet. Perhaps a solution to this would be to have the viola sustain the D instead of raising up to the Eb? 33:31 I also found the resolution at M45 to be a little odd. The Eb minor here sounds out of place to me, since we're in the key of Eb major, and since the ii-V in M44 seems to set up for a I in M45. At 35:25 - the descending sixteenth notes stick out to me, I believe because there are parallel tritones between the Clarinet and Vln II. I think my favorite part of the movement is the return of the minor motive at M170. To me this brought the piece full circle and provided the "a-ha" moment of the piece for me. Overall I think this is excellent! Your counterpoint skills are a definitely a strength. Throughout the piece you are able to weave five independent voices between each other and keep each voice melodic and interesting. What I would suggest you work on are the simpler textures. I think if you were to extend some of the "interludes" between the contrapuntal sections this piece would be next level. Thanks for posting! I thoroughly enjoyed listening to this. I will definitely look through the other movements and give feedback when I can.

Greetings. This is my second post on the Young Composers community, and I would like to present my recent piano composition. This piano piece is a short étude in the key of G sharp minor, a study for developing right-hand dexterity. Besides, this composition was an attempt to write a perpetuum mobile, consisting of notes of equal length played rapidly. Let me know what you think about this piece. I hope you will enjoy it! Carl Koh Wei Hao P.S. The audio was generated in MuseScore 2.3.2.

Hi @Luis Hernández, I enjoy this sound which fits well the cozy feeling of the piece. The non-functional and sometimes jazzy harmony with the appreggios and the changing meters are well suited here as well. Very "yummy" harmony here which is full of, I don't know how to describe, taste or flavour and I can only say it's very scrumptious which is very affective. Very great chord "choice" even though it appears very natural here! Thanks for sharing! Henry

Nice job putting the music to that video, I think it worked pretty well. Best of luck, hope you win!

Hi @olivercomposer , I love how you control the pacing to create climax at the middle and the end, and the dorian flavour at the beginning is great. Will you retain the dorian for the Bb minor section? Also, I hope the voice can feature a little more in the last section and reach the high Bb with a G natural for the dorian! Thanks for sharing Henry