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Edit: I changed the structure of the piece a little bit after posting this on youtube and used the fast section as a sort of coda for the piece. The new final version is attached as an audio file.

probably my most complicated work so far, and took me over a month.

I haven't looked at composition in almost a decade, but a few months ago MuseScore 4 (which I'm still figuring out how to use) was getting good reviews and I wanted to try it out, and I've been picking at this ever since. I'm only a few drafts in, and there are many things to fix, and the score needs editing, but this is more or less how I want it. The Overture describes a struggle between Knife Rat, Murder Cat, and Good Doggo over a slice of pizza. It's structurally very simple: Knife Rat 1 - Pizzeria in the City Murder Cat, Personality 1 - My Bam is Boozled That They Took My Pizza Good Dog - Who Rightly Deserves All the Pizza Murder Cat, Personality 2 - My Flabber is Gasted That They Still Have My Pizza Knife Rat 2 - Murder All the scallopes Who Want to Take My Pizza All suggestions welcome. you might have to turn up the volume a bit high to hear it well.

Brand new release! 11 Variations on an original theme for solo piano. Starts Classical, becomes Romantic, and ends in 7/8! Hope to lift your spirits. https://www.youtube.com/watch?v=-3coQsksLiE Thanks!

Hello everyone. For decades, I have been merely a listener of music, primarily twentieth-century classical music. Recently, I started experimenting with composing myself. Here are three short piano pieces. I would be delighted to hear your feedback. Short piano piece (Score) Short piano piece - 1.mp3 After Grig's "Morning Mood" (Score) Morning mood.mp3 Etude for three hands (Score) Etude for three hands.mp3

But Hamlet died TRAGICALLY!!!!!!!!!! Even he successfully killed his uncle...

Thank you, Henry. I was remembering these commercials that were on TV as a kid. They're quite funny. They all feature, air on a G string which is where I got the association. It's been illegal to advertise tobacco products for a while now, even in shops, they are hidden away from young eyes and all branding has been washed away with government health warnings and grotesque pictures of the effects long-term smoking. I miss the 80's, I was born in '81. I love modern technology but miss the simplicity of the pre-internet age. Happiness is a cigar called, Hamlet.

Hi @HtWinsor, I am not happy with this one as you seem to walk back track. I like in your previous posts you are starting to develop your material, but here they are all lost. For me they are just fortuitously combined together. Do you write this in 5 minutes or so? I really hope you can create much more developed music since you definitely have the materials and ideas to do so! But with an 11-bar "work" cannot even be called a work in this context! Most likely they are sketches! Another thing is the triple octaves in b.10 & 11 LH is unplayable! Henry

I have only written a single real fugue, so don't take my word for it. But I agree with Henry WTC is one of the key books for fugues. (there is also the contrapuntus I heard, but I never read it lol) But imo the "game plan" is very important. Do you plan on strettos? inversions? augmentations? All these have the be worked out with the subject itself even before writing the exposition. - the e-flat/d-sharp minor fugue from the first WTC book is a good study piece for what you can do with a single subject, and I love that piece so much - "building bricks" fugues where you can basically switch around the subjects and countersubjects at will, like the b-flat major fugue from the first book or the g-major and f#-minor fugues from the second book How many episodes/parts to you plan on having within the fugue? - the c-sharp major fugue from the first book features a re-exposition - the f-sharp minor fugue from the second book gives each subject and countersubjects their own expositions, then combined them Just a few examples EDIT: I think fugues generally just sound like either Bach or bad, even if it's written by romantic composers like Mendelssohn or Clara. until you get to more contemporary fugue writers like Ravel, Shostakovich and Hindemith and the likes. But that's only a personal reflection/observation.

Hello everyone, I am a little new to the forum and a (almost) young composer. To be very honest, I wrote a lot of music when I was young and then nothing until this year. 30 years of stop... It makes me a young composer! Haha. during my Covid isolation, agitated and feverish, locked in my office (which is also a small home studio) I discovered the fantastic possibilities of the samples. It made me want to try to get back to the composition. So this is more to be considered as a leg lift... Exercises, and the pleasure of having a complete orchestra at home. What I didn't dare to dream of when I was a student and it took 3 days to dialogue a DX7 and an Atari 520 st to get the sound of a rotten bell! So, I would like to submit two recent pieces, orchestrated in samples. One for Cello and orchestra (Reached Alert, which is inspired by a bad appreciation I had on a school bulletin), The other for piano and orchestra, which evokes these lucid dreams (pretext for moving from one disparate atmosphere to another). I hope not to abuse the forum for all this! Thank you in advance for your advice and attention