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I (hope I) just finished my first ever string quartet! Shower Thoughts! Called that way because, around 7 months ago, on a nice sunday morning, I popped into the shower and this melodic line popped into my brain. It occurred to me that it would be fantastic if I turned it into a string quartet piece. Carried away, I outlined the structure of the piece while shampooing and rinsing, and as soon as I finished I ran over to the computer and started writing. Of course, the writing and composing itself wasn't so fast, because… because I got distracted by a lot of things 😐. At the time, I didn't have any intended inspiration, but in retrospective, I think I got quite influenced by Jean Rivier's first string quartet. I know, it's too short, but so are my showers, so… umm… yes. Anyway, I hope you like it!

Hi again, ladies and gentlemen. After some time thinking about what to post I thought that instead of uploading another nocturne I might ask you for feedback on my most recent video instead. The piece it contains is not very recent, more or less a year old. It's precisely the piece that preceded my first accordion sonata and my first piano sonata. I won't say much about it. It's my third piano waltz, it's playable, and it's hopefully decent. But you judge! • Here is the PDF & MP3: Free sheet music : Rodríguez, Daniel-Omicrón - Obra Menor Nº40 - Vals Ahorcado (Piano solo) (free-scores.com) • Since now free-scores possibly requires registration, for those of you who don't want to go under that process, you'll be able to find the PDF here in the post (but I do recommend registrating though, it's a great site full of hidden gems like YC): 40 - Vals ahorcado.pdf Here's the youtube video created via Piano VFX, OpenShot and Paint.NET: As always, I'm open to any feedback, comment, impression, thought regarding the piece (though it's a bit old but I may always consider your thoughts for my next pieces) the video, a part of it, both, or whatever 🙂. See you in the forums!! Daniel–Ømicrón.

I feel kind of weird not posting as much music as I once did. I've been busy with music, but mostly learning songs from this band I'm in. Since this site has revamped a few times, a lot of what I've posted has been lost, so I decided to share some pieces I've written in the past as a way for anyone interested to hear some of the stuff I've done. Even though a lot of what I'll post in these here "archives" are works I probably won't edit or revise, I'm always open and would love to hear some of your thoughts and critiques for the future. This was an experiment with quartal and quintal harmonies, and building them with sustained and elastic chords. I remember trying to make music interesting without the focus being on a melody. The goal was to depict the ocean with lots of color and texture. I wanted odd melodic phrases to blend and blur. There weren't any intentions to extend this as part of a multi-movement suite or anything, but hey, if there were ever a prospect of a performance than maybe. I'm someone who loves to see a score, but sadly I wrote this entirely in Cubase so no presentable score. At some point I'll maybe notate it all out. I hope you enjoy!

This is an old piece I dug up from many years ago. It was 32 bars long and lasted about 40 seconds so the whole second half was composed recently on the model of the first 32 bars. Let me know what you think - I added some dynamics so it's not always nice and quiet and lullaby-ish. Warning - heavy use of whole-tone scales included, although it does occasionally cadence in more traditional triads.

Greetings. I want to present a piano composition I finished recently. This short étude, written in C-sharp minor, is a toccata-like "show-off" piece designed to allow the performer to display his playing skills. This étude also emphasizes the agility of the weaker fingers of the right hand. I was in a state without inspiration when writing this piece, so most parts of the composition were notated spontaneously. Also, I implemented Mike's techniques in enhancing playback realism, so the playback should reflect my interpretation of this piece. Any feedback is appreciated, and I hope you enjoy this piece! Carl Koh Wei Hao

Hey Peter, I'm still digging the posts lol... This is indeed a STRANGE lullaby which I enjoy! It's very fitting to use heavy whole tone scales here for its aimless direction for listeners to sleep well (which I want to now LoL), and combining those more traditional tonal chords with cadence help the music get back on track. Sometimes it's not whole tone like or tonal, like the opening---it sticks to a particular interval, like here it's the major 3rd (like the beginning of Prokofiev's sixth sonata) It's very playful here with the color change. But in b.16 and 48 if you press the sostenuto pedal, not only the right hand dotted minim chord will be held BUT ALSO that crotchet LH chord in the first beat. Unless the LH chord of the first beat are also turned to dotted minim, it is not quite possible to hold the right hand notes, but by doing so the effect will be very different. Thx for sharing! Henry

Hey @Fiddeou, I like how compact this piece is! It's interesting you keep changing the opening theme, turning it from a more post tonal one (even under A minor) to something more diatonic. It's real funny with all those effects like pizz., sul tasto and sul pont, harmonics etc, even though the program doesn't play them out with satisfying sound. All the themes are more or less derived from that opening theme which consists of quartal melody and chromatic notes. The hemiola in b.19 is funny too. I think you can add some glissandos in it to make it more funny! Environmentalists will love you for this! Thx for sharing! Henry

I'm in!

I'm in

Dang - for a piece without melody this is really good. I don't think I'd know how to write music like this. It seems like the music would be perfect for a documentary about the depths of the ocean. I can see the shocking reveals of the giant squid or the monster fish that live really close to the bottom of the ocean. They have these huge maws with jagged teeth which seems like your music sometimes would be perfect at depicting. Much like the ocean - the music is really amorphous and it seems like each musical gesture is so random and has its own individual harmonic identity. Yet the music never seems to wander aimlessly but is always channeling the spirit or the ether of the ocean. It would be interesting to see the score for the piece because it might explain the randomness of your musical gestures and inform my musical logic. Too bad though. Thanks for sharing!

Great work here! Lots of fantastic energy and exciting ideas. I really like the one at the C section, as well as the theme at 5:00 right before the C theme again. As I said in my comment for one of your other pieces, I really enjoy your ideas and style. You have a lot of originality, and you didn't disappoint once again. Maybe I missed the mark, but one thing you could perhaps improve on for the future is development. I felt like more ideas could have stemmed from previously introduced themes. You have no shortage of material, but it felt like you had enough material to write 2 or 3 different pieces. Just a thought though; a lot of metal music is written with a barrage of ideas without tons of development, so it can work. Another example would be bringing back the long V chord idea at the end of the intro. Or even that rhythm you have in the left hand at 5:58 for your coda. It would have been cool to keep that going as a final hoorah. Overall though, well written piece as usual! Great ideas and I loved the exciting energy of this piece. Thanks for sharing!

Hey - first I just wanted to say thanks for all the great reviews and observations you've been dropping around the forums both on other members pieces as well as my own. I hope you'll always know that you're a valued member of this community. I love the many differentiated dynamic levels you present in this piece. The piece seems like it's always going somewhere, whether through gradual changes in dynamics or gradual changes in tempo. I enjoyed listening to this piece over and over while writing this review. That said I think you overuse arpeggiation as your main melodic material. I'm kind of used to it by now and actually enjoy it but your melodies tend to start to sound like harmonic noodling after a while. They seem to wander up and down the keyboard sometimes seemingly aimlessly and are interspersed with haphazard and jarring rhythms and the aforementioned arpeggios. I think to improve on this tendency you could either play or analyze some Bach, whether the 2 or 3 part inventions or any of your favorite inventive or fugal pieces and notice how self-similar and concise the melodic material is. It's most likely constructed out of a few very short and simple melodic fragments that are then manipulated through elongation or concatenation or inversion etc. Your piece on the other hand has a bunch of unrelated complex ideas thrown at the listener in a relatively short amount of time. And you connect those ideas with harmonic fluff. Not that I didn't enjoy it though - many spots show lots of character. And maybe you consider the characteristics I mentioned as the constituents of your individual style. If that's the case then it's just a matter of taste and you can disregard my complaints. Thanks for sharing though - I hope you continue to post your music and hopefully my comments were at least a little helpful.

I kind of like it despite of the warning, it's simple yet I'm not sure if it's entirely playable. Is it meant to be? There are measures like 16 & 48 where I believe it's not possible to perform what the score says without pedalling (and that'd kinda break the stacatto). That said, my favourite part is the set M(16-24) or M(48-56) (they're in essence the same 8-bar phrase but transposed, assuming I read correctly). Kind regards!