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Hello, Just wanted to share one of my latest works. This has become one of my favorite pieces to date and I just received the premiere on Friday. It was really amazing and he came so prepared with clarity. Cannot imagine it being played better than he did! I would love to hear everyone's thoughts on this piece that is quite a step away from my normal writing style.

Hi! I listened to your finale days ago but didn't find time to reply so I'm re-listening. First of all I don't think any criticism or output in general that I'm going to write in this comment will be of much use, since I myself haven barely composed 2-3 works for many instruments. The sound is very good —except for the tremolos, maybe— I must say. In order to prevent a dense message lemme summarize what I have been thinking while listening & reading. • Despite the lack of well-defined structure, you know your game: you seem to be comfortable in transitioning between calmer sections that you make interesting by themselves and more vivid ones. Your music, at least to my taste, flows despite of that "flaw". You made it like that though, so if you are already convinced of the result you got, I personally wouldn't change a note. That said, I would need to listen to the whole work to see how much of a finale it is and how much it relates with the other three movements, because right now it tells a story to me that begins and ends quite decently... • Yeah, regarding the final part that I would definitely call "The unknown soldier's trumpet solo" quoting @Krisp's words, I believe you could have extended there a bit more, I just felt it ended a bit too soon, I didn't perceive a proper preparation (considering again this is a finale and the ending of a 14 minutes piece) but perhaps it's just me, I am often very nit-picky with ending sections sorry. In summary, you have the tools, you have the sound and you have the skills needed to combine all of that as we all have listened and make a very beautiful and promising movement. Trying to abide to a more strict structure could be a way to progress further. Thank you so much for enriching this forum with your truly good movement. Kind regards, Daniel–Ømicrón.

Yo Installment number 4 of my miniseries. Based around G minor/dorian for the most part. Enjoy!

This is one of two demos I recently made for a prospective video game company. They wanted Japanese anime-styled music for their game set in a hot-spring/onsen. The game is supposed to have romantic undertones. I made this one in Musescore 4 with Musesounds flute, glockenspiel, vibraphone and string quartet (also with woodblocks and tambourine). I imported it into reaper and put a hi-pass and lo-pass filter on everything. I'd appreciate any of your suggestions, comments or critiques! Thanks for listening.

As etudes are meant for instruction and practice, I wrote these to help with octaves and finger stretching.

Nice motivic choice, though the sound is not very convincing. Are you sure the output is better with the hi & lo passes? If this is meant to be an ambient piece, I am not sure if it'll work, since there's a decent amount of stuff going on even if it's derived from a single or two ideas. Nothing is sure until you put it in the game and check by yourself though! All in all, a catchy piece, perhaps limited only by the playback sound. Kind regards, Daniel–Ømicrón.

Don't hesitate to ping me in case you make and publish these changes! I look forward to listen to them, and no pressure of course :B. Kind regards!!

Hi Oliver. Let's listen to it. • At the very beginning, the strings may hit too hard, blurring the harp arpeggio, but that's just a detail. • The change of rhythm at ~0:30 is a bit less subtle than what I'd like it to be, but just my taste :B. In comparison, the transition to the more battle-like music near the first minute seems much more alright, as well as the one that follows it. • The voice aaahs don't convince me too much, specially in the lower notes, perhaps it needs more voices around. • I find there's not many changes on dynamics, specially on the background strings; you rely on instruments for that, which isn't necessarily bad but starting piano in the beginning and balancing a bit more the voices for the trumpet to be more isolated would output a better result in my opinion. I can sense a bit of a crescendo in the final section but I think it's not enough, imo adding more dynamics to the various contrasts that you have successfully made would make the piece even better. In summary, another great piece that I had pleasure listening to, with some details that didn't convince me here and there but nothing big. Kind regards, Daniel–Ømicrón.

Yes, a score would be nice ... you evoke/build step by step a lovely texture with your orchestration - the choir is a nice addition. My only comment is you created a 7 minute continuous "mood" - (my preference) some different high point/low points would add a bit of tension and release in the on going scene(s). Mark

Hi again Eickso! I cannot avoid thinking that the first section of the piece (the one that resembles E minor) is like one of those books that you buy for the price of a novel but that say "write your own story" so you end up writing the book you wanted to read yourself. Don't get me wrong, I very much liked the effect —in other words, the notebook didn't come blank— but as I said I just couldn't avoid the thought :). My favourite part was the applause but it is not written in the score for some reason... Jokes aside I'm glad that you get your works performed; I couldn't agree more on the fact that the pianist was splendid. The piece started a bit confusing to me (it's just not the style I'm used to listen to, in case there's any) but shortly after I realized I was already immersed on its atmosphere, specially in the atonal section which constitutes the majority of the piece. The dynamics are not over-exaggerated by the performer which is to be appreciated by me at least. A very expressive, solid and quite unique work, in summary. Thank you for sharing it to us mate. Kind regards, Daniel–Ømicrón.

Hey - I haven't read what everyone else has said, but I just wanted to chime in and say that I love this tone poem which to me is very evocative of spring. I can think of a blooming forest, or a waterfall in an overgrown mountain range, with river rapids and plenty of wildlife. There doesn't seem to be a clear theme, except for this impression I get of perpetual motion suggestive of spring. This style is quite beautiful as is, but I think it would be more memorable if you alluded to a theme here and there, preferably to one varied theme, or to maybe two or more themes that complement each other or are interrelated somehow. Thanks for sharing!

This is a very turbulent piece, it's raging quietly, it's almost frustrating. Very precise scoring, though the whole piece suggested C minor and yet you decided to put no starting key. Regarding your last paragraph, and seeing that you have (I believe) uploaded the next prelude, I will assume you came back so welcome back ma dude. What to say about this prelude that hasn't been told already either by Henry or yourself? It seems definitely easier than the prior one, and it "strikes" much more directly than the first one. So in my opinion, this is my favourite out of the three, I still have the fourth one pending. Hopefully, not for long. The constant blur effect that you achieve and that is the key of this piece in my opinion is as distinguishable as the first motive on your first prelude. I'm sure they're gonna be a great series, they get better as a whole with each new prelude you make and publish. On a final note, the melody somehow preserves traces of that flow one has when improvising, at least in my opinion. Again, hope you're already back and in case you don't, hope your come back soon Vince. Kind regards!!

Thank you! I might make the adagio ending into the beginning of the 4th movement. I too want the energetic ending. Thanks for your feedback!