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Today I submit the second and third movements of my first violin concerto. The second is a calm cantabile episode, and the third is a rondo on scandinavian themes. Hope you like it! https://youtu.be/E9ntdJbCyIQ

I wanted to share this very simple thing I wrote thinking about things from the past and etc.... The basis was: a very singable melody, and a fixed progression: I - IV - (ii - V)/iv - iv - (ii - V)/ii - ii - (ii - V)/V - Vsus - V - I For oboe (English horn) + electric piano (mark). The one in the picture is one of my deceased dogs.... He was very big and precious, protector of babies, children, puppies and cats. But he did everything in a big way.

I think it's a very well done music for its purpose, in an epic way. It has a bit of influence, in my opinion, of Vangelis. My only objection is that it maintains a strong and constant intensity, a more relaxed contrasting part would be appreciated.

Thank you Henry for your review and the time you took-- it is very, very helpful. VERY. I made all the changes you recommended but one: the Eb in the N chord! I tried, I really did, but I like the e nat. I want a little dissonance/jaggedness here, and I realize this is THE SAME INTERVAL as the opening neighboring tone motif! The E-F minor interval just seems to work- at least for me. I do think its a preference here. I do hear what you are refering to. The second N chord is of course a codetta phrase ending the A section--and at the conclusion. I made another stab at slowing down the ending, and made some progress by faking out Print Music with rests in the 2nd register--allowing me to place more rit. symbols where I wanted them. Better. Not perfect. It looks ridiculous, and I will need to make a performance score if I workshop it. Also added an ornament or two, and some dynamic changes--nothing major. I want to point put the WEIRD RUBATO in the transition back to major key at bar 65--This is Human playback-romantic style gone ROGUE! Mr. Roboto has lost his mind a bit here, as this NEEDS to be ON THE BEAT. Maddening considering how hard I worked. I tried to soften it with different phase marking, but only marginally successful. I like 90% of what humna playback does--the rubato, the swells in the left hand, but this is definitely TOO MUCH!. Thank you again. I'm learning and it is thanks to feedback such as yours. Even if not used, it makes me think, and consider for future work.

At first I didn't see the relationship well, but after two minutes the orchestral mass effect is more noticeable. I know Ligeti's work but not Denisov (I will investigate). I liked your work very much. I think that in addition to that sound mass effect, what is more worked is the multiple timbre lines. It is a very well resolved framework.

Entry D - "Argonauta" by @Jordan Jinosko (for Contrabass and Piano) Argonauta is a piece written about a recurring dream I have had. In this dream, I am a sailor aboard a ship, and my crew members and I are attacked by cephalopods, creatures that wriggle toward us and overwhelm us with their tentacles. I titled the piece "Argonauta" since the word can refer to either nautical adventurers or a specific genus of octopuses with large eyes and webbed tentacles. Musically, the disorienting tentacles are portrayed by intrusive use of the octatonic scale, which features eight notes that allow for a kind of harmonic ambiguity through use of inversional and transpositional symmetry.

Entry C - "The Journey of Jason" by @Michalis (for Violin and Piano) The piece is inspired by the myth of Jason, which is an archetypal "dreamy" myth of a quest. Jason was an ancient Greek mythological hero and leader of the Argonauts, whose quest for the Golden Fleece featured in Greek literature.

Entry B - "a knee in the grass through my eyelashes" by @GreenGiantCanOfCorn (for Soprano and Piano) This piece was constructed around the accompanying poem. The poem depicts the listener (you), entrenched in a dream. The narrator (again, you, the listener) is stratified between three levels: the needer, the object of your own desire, and the observer of the entire scenario. Within the text, these three cognitive levels are distinguished by italicization and paragraph alignment. In this way, the text is able to detail a complex dreamscape of self-doubt and need through its use of form, without imposing a specific narrative or temporality. To detail the compositional aspects of this piece, the musical form serves to highlight the dreamlike non-linearity of thought and memory. It's not that this piece is formless; rather, it is incredibly aware of form, employing it as a cognitive guide. Section boundaries are often blurred with either extremely unpredictable or extremely familiar materials. Even silence is used, stored, and recalled as a familiar material. The form is real because the listener needs it to be. Therefore, it is indistinct and varied in its macro shape, and confident and intense in its phrase- and section-level materials. The piece also uses technology: two E-bows on the piano, with sustain and sostenuto pedals to allow infinite oscillation. Additionally, the soprano sings into the piano to sympathetically vibrate the piano's strings. Not that this needs stating, but stylistically, this isn't supposed to be a "pretty" piece just because it uses harmony. For better or worse, existing within the contemporary world means that listeners likely have instincts regarding functional harmony. This allows the piece to utilize such instincts to construct sectional contrasts between familiar and unfamiliar approaches to expectation and fulfillment. TLDR: on a structural level, this piece does not commit to any one method of utilizing harmony, and instead uses harmony as a concept to evade expectation. This is a needy piece, a "waking up sweating and the sweat feels cold, and you can't tell if it's in a good way" kind of piece. a knee in the grass through my eyelashes centers the contradictions and anxieties present within the unconscious mind as we define our own personal truths. Thank you so much for the opportunity to be considered for this competition. I would also add: