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Aria in c minor written to my son Jonas 05.05.23.

Let me introduce my Ballad No. 3 (E flat major) for solo piano. When I wrote this music, I wanted to make the composition as melodically expressive as possible. I also tried to make as clean chords as possible without harsh dissonances. I hope this Ballad will not look too old-fashioned. I just wrote the music I wanted to listen to. If someone liked it, I will be very happy.

Here I present two more fugues, also in a major&minor set. This time I tried to write for 4 voices in the major fugue, and I'm really satisfied with the result (tried 5 voices but quickly abandoned the idea). The minor fugue to me is less interesting but still has some things in the presentations of the subjects that was productive to compose. Hope you like them! Fuga_en_Fa_mayor.pdfFuga_en_Fa_Menor.pdf

This is my "Caprice for Solo Violin No. 3". It is the first string piece I have composed in which I utilize left-hand pizzicato. Here are the links to my two previous Caprices for solo violin: https://www.youngcomposers.com/t44427/caprice-for-solo-violin-no-1/ https://www.youngcomposers.com/t44439/caprice-for-solo-violin-no-2/

I got a lot of replies last time I posted here hoping for the same again. This is a good track, and a new track on a separate reocrd "Moon be my guide" title of track and title of album here is "He, You,m ANd I" Again. enjoy both.

I decided to partially take the text from Psalm 22 and see what happens if you get rid of the "God" parts. This is what I came up with.

If you do so, just make sure that there are no changes in the string that sounds(or just a few changes that are not near from others) [Hindemith Op. 11 no 4, about 0:53, a fast passage but everything played is on the c string]

This is a huge work and I like it. My main concern is the timbre of the piano. It has not "deep" support and it sounds very light. The section from m. 32 is quite good .

This has some delightful canonic imitation! I think as far as Beethoven influence is concerned in this piece, it's more on the early classical side of his oeuvre (or maybe more Bachian or Baroque as mentioned). But I think it lacks his romanticism and emotional depth. I do hope to hear something with more of the attitude of the "Eroica" (although you clearly are influenced by it in this piece with the accented offbeat chords in measures 73 - 74 and 136 - 137). I thought you came to a satisfactory conclusion in measure 142, complete with an authentic cadence with a tonic pedal and ritardando - it leads the listener to strongly expect that that would be the ending. But then you continue and to me, at least at first, that continuation seems out of place and unwanted. Maybe if you had written some kind of deceptive cadence before the key change in the pick-ups to 143 it would lead the listener to expect some kind of continuation. (Although now that I've listened to it a few times it doesn't bother me as much and it kinda serves as a type of fake recapitulation I guess). My favorite parts are the canons and chorales in measures 63 - 75 and 126 - 138. Some of the time though I feel like your phrases border on being run-on sentences and at least in my opinion lack direction, using too much scalar motion up and down the keyboard seemingly aimlessly. But overall though, it's enjoyable and I think you played it quite beautifully! Thanks for sharing!

Thank you for your comments @Henry Ng Tsz Kiu @Omicronrg9 I understand what Daniel means with the lack of expresivity but my intention was more like what Henry said. For me, in this style, is more up to the interpretative process than the arranging, so I wrote only a very few expression indications stated by Stanley. About the harpsichord... Actually, my intention was to leave a basso/continuo line and indicate when to play only cello solo and tutti, and not to introduce the harpsichord. I like the sonority it adds but, as Daniel said, now I also think that indicating it but for only doubling bassi is a waste (but now I'm not really interested in writing down all the part and I will leave it for the interpreter). Probably I will leave only one part as basso as I stated before. Talking about the tempi, "Andante Largo" is supposed to be the original, this is why I wrote it, and I understand about the feeling of insufficient contrast. As an arranger I mostly tend to be more close to the original than to interpretate the score and give it a more personal outcome, but maybe it's something to work on. Also, I will add the original versions of the works now in the original post.

Finally, This is the completed 30 Minutes of Action Music I have been composing for a long time. Mostly composed using Ableton the 30 minutes includes suspense and almost frightening like build ups. It includes very sudden or "exciting" key changes that reminds everyone of the peak of an action movie or a war movie, going up a minor 3rd interval in a huge key change C to Eflat for example can give the audience a real engaging rush. Going up a semi tone like a key change builds tension if written appropriately, it must be composed very carefully to achieve this "EPIC" thrilling key change. Then changing up a full tone. changing keys up a tone if done well can give a simular effect however relies heavily on orchestration and careful phasing from the instruments to resolve/build the suspense up a tone.

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