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Welp, the end has come. The season finale is here. Now I can write for guitar again. I used a lot of forms and styles for this set of pieces, and decided to write a love song type of thing to end it. This was inspired by Beethoven's "Ode to Joy" theme, as well as Pink Floyd's David Gilmour. Lot's of lovey dovey pentatonics in this. Hope you enjoy, and thanks so much to those who have been following along with the progress! You guys are awesome, and when I make final edits, I'll be sure to take everyone's comments and advice into consideration.

Hi here are a couple scores I enjoyed composing enjoy!

I don't think so at all! What is real is that everyone comes here and wants to make their music heard, as everywhere. There may be no time to immerse themself in the world of others. Sometimes it is enough to start not to force ourself to do so to enjoy it, but often, as all these bottles at sea float according to the currents, they fall through the fishing islands. It is easier to impose listening on a captive audience, locked in a concert hall, who will have no other way out than to wait for the end of the concert or to To feign a malaise... To finally applaud with relief when the time for liberation comes! Haha. We therefore have more merit than these composers who have the pleasure of being played in theaters. Because our listeners are only consenting beings.

Bravo, as I just wrote on your Youtube page. I am very sensitive to the poetry of this recording, its human imperfections. We oscillate between Chopin, Beethoven, and the ineffable and immense Schubert. (a little Rachma too...) (or even a zest of Liszt). There is an immense sincerity in your speech and we want to say to the young guy who suffers in this way: "don't worry, it will only get better"..."tout ira bien tu sais"... Finally, console a little the teenager you were and who obviously needed it, word of (old) father!

Thank you for your visit ! I am always curious about the reactions of listeners, and I know that often the listening is very brief and superficial (just look at the statistical tools offered by YT to see that it rarely exceeds 1'30 in my case...); it is a frustrating aspect to deposit your compositions on YouTube, a bit like throwing a bottle into the sea hoping that it is found and that your message is read I know here on the contrary that each listening is much deeper and attentive, by thin ears. And so it's a great pleasure. Regarding the continuous aspect, in fact, for these recent orchestral pieces, these are moments that are close to 7 minutes, which is rather long. But I choose not to specifically develop this or that part. I focus on one or two motifs or themes that will be my leader and will undergo mutations and transformations, such as evolutionary characters. The scenery they go through in their journey, on the contrary, are in perpetual metamorphosis, either by sliding or by contrast. With this in mind, I have therefore composed four recent pieces, each with a favorite solo instrument. It is also the challenge to manage to give the maximum of realistic to the whole that interests me.

Sup Vince, This is a great piece. It truly is. I love the sort of sombre yet not sombre mood that you've managed to create in this piece. Pink Floyd is my favourite band, and I can definitely hear some mid-Gilmour era stuff in this. I dont really have much else to say other than restating that this is a great piece. Adios, Arjuna

Hey, @Henry Ng Tsz Kiu! Sorry about the late response, but thank you for the further feedback! Thanks for the tips! I'll see if I can add those details into the score, since I'm definitely open to a 3rd draft. Yeah, I will admit this bothered me a little too. I think the problem is that the shifts from the minor to the parallel major and back again both occur at the start of a new line, and hence the key signature is not as apparent as it otherwise would be halfway through an old one. As far as I know, this is how Crescendo Music Notation Editor functions, (I'm also working on a Scherzo where at one point the key signature changes from E Major to Eb Major in the blink of an eye) but I'll see if I can personally customise it. Quinn St. Mark

Yup, you can always revise your works. One time I played Beethoven's opening fugue of his op.131 and was shocked to find a parallel fifth there! But ofc his piece is still a masterpiece if not THE masterpiece for me. I also remembered so well that I had corrected so many times the parallel octaves and fifths in the third movement of my Clarinet Quintet which is a five part fugue but still I can find some now. We can just try out best though by infinitely revising to the point that we are satisfactory of it despite some bad apples appear which will not affect the overall picture. But for me this is an Octet and I don't think it really matters! For in b.7 even it's 4 part strcture the moment of parallel is only a semiquaver beat and this is not a strict piece, so it's up to you to decide! Henry

To be able to overcome a form, you must first know how to create it. This was what the great Argol Schonberg was saying. You first learn to build a simple classic sonata and then you are ready to fly away from it.