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I wrote this while bored in atonal music theory class, and I intended this chorale to be sung by an actual choir, hence the attention to breath marks not normally necessary for keyboard instruments. I also gave myself freedom to write things unplayable for just two hands (though any organist is welcome to move the bass to the pedals). Funny thing is this piece probably took me longer to assemble into a bearable audio file than it did for me to actually write the notes.

Hi! I just finished three movement piano piece inspired from trip to NYC few years ago... First movement describes freestyle driving in the morning along the riverside around the city, second movement describes night scape viewed from the observation deck of skyscraper, and and the last third movement describes jazzy feeling (in modernistic style) after jazz concert in downtown park... Actually I can promise all seemingly technically challenging passages are definitely playable after practice, especially some three staff measures with damper or sostenuto pedals (in slow enough tempos)... Hope you guys enjoy this piece, and please don't hesitate if you've got any comments or suggestions... Thanks :)

Well, summer is almost ending :'-), I've been busy with some things so I couldn't make the most of the vacances, i will also be more active in this forum. I wrote this to my grandmother, she was called 'La Botones' (The Buttons girl), I've been studying tchaikovsky and brahms pieces. I don't really know how to continue the piece, i planed to keep developing the rythmical motive and then do a B section in a far-away minor key (like a minor). I also feel like the modulation to Gmajor is quite sudden.

I normally try to avoid motions like this, but I felt like exploring the i-VII-iv-i progression a bit more here, which in my mind necessitated somewhat awkward movements in the inner voices with relation to the bass. As you pointed out, the result in this piece is that the tenor and bass form direct octaves; I justified this while writing by having both voices go in contrary motion, though having some sort of awkwardness was largely unavoidable.

Love it, excellent work and composition

Hey Aaron, -The opening is a good use of the circle of fifth, but maybe if you want to complete the series the first beat of b.4 can be a V6/4 chord with the G as the bass. Or the F act as a suspension will be great as well - In b.6 beat 3 it should be a dominant C major chord, rather than a Bb major chord for the Piano LH. - I think the parallel movement of Bb-C# in the flute and piano LH strange with the augmented second doubled, following a tritone G-C#. Maybe changing the melody will be more fitting to this style. B.20 also with the same melodic progression. Thx for sharing! Henry

Overall the piece sounds fantastic! The only thing I’d say is maybe add a snare loop to give it a more “army/military” vibe. Idk if I hear a snare or if it’s something else but if there is a snare maybe make it more prominent in the piece and really carry the rhythm along with the bigger epic perc. Hope your song turns out wonderful!

Hi @Alex Weidmann, I agree with others that there is some good thematic material here. I think the orchestration is a bit stale and you could use a bit more variety of textures. It feels like for most of the piece there are sustained notes in the strings, which gets a little tiring after a while. Maybe try to vary this a bit. An idea I had is to maybe change the sustained notes (half notes) starting around m.50 to quarter notes and rests. This way you would be accenting the quarter note/16th note melody in the violins on the beat, instead of with just sustained chords. Just a thought, hope that helps. Thanks for sharing!

Hello everyone, This is my first post here and I wanted to share a piece I recently wrote with you all. Let me know your thoughts! The five poems within my composition Poetry collectively narrate a heartbreakingly beautiful, vastly complex, and motivically interwoven tale. The suite opens with the Prelude (0:02), a fantasy-like prophecy of the other poems in the suite; the bells of reality can be heard in the distance. Dreamy visions pass transiently through the background noise, and as the piece progresses, the bells increase in intensity to prevent the visions from fully materializing. The bells soon find themselves trapped in a climactic whirlwind as they start to transcend time and space, like accelerating into a wormhole, falling faster and faster and faster... In the Lament (4:34), one finds oneself in a completely new world - one that is bare and empty. The offbeat rhythms insinuate a notion of regret, and the unresolved pedal point during the climax leaves the listener yearning for closure, although there is none to find. This poem ends with a painful lullaby-like restatement of the opening theme, as if crying oneself to sleep. During the night, the Nocturne (8:12) slowly brings the once-barren world to life. After a plainly stated opening theme, the progressive harmonies start to bring wonder and color to the world, while the stars twinkle in the distance. As the sun rises, its rays illuminate the colors of the landscape, which mix to create a brilliant backdrop of green mountains, purple flowers, and a golden sky. The Scherzo (12:07) is an idyllic depiction of the utopia the world has now become. There is joy to find in life! Jokes to laugh at! Authentic cadences, for the first time! The tender, warm feeling of being loved! Moments of pure brilliance and ecstasy! Excitement! What is there not to live for? It's everything one could ever want in... Postlude (18:46): a snap back to the bells of reality.

I mean, wow. I myself is a really slow composer and I can use several months to complete a single movement. Looks like I'm a not a good composer haha! Pleas come more frequently and share more of your lovely pieces here! You have some pieces on YT not posted here but I think they definitely should be posted here since all of them are great and very "Ivanic" in their style! Henry

This was my entry for the Tortoise and the Hare The piece starts off with the hare making fun of the tortoise's speed, so I introduce the hare's theme in the Eb Clarinet. The acciaccatura figure represents laughing. Then the tortoise theme, which is in minor since he isn't particularly enjoying being made fun of. I just repeat those with minor variation. Then the music builds to the hare laughing again, which signals the tortoise to challenge him to a race (A), signified by the rocking fourth figure. The hare laughs at that too, but the tortoise interrupts and repeats his challenge. The hare accepts the race. The fox begins the race (B), signified by the horn fanfare, and the race begins (C). The race is a fugue on the hare's theme with fragments of the tortoise's theme. The fugue ends with the hare's theme on top, so he slows down to take a nap (D). The tortoise meanwhile is coming closer to the finish line (E), crosses which means he wins the race. So, the piece ends triumphantly with the hare accepting his defeat. I enjoyed this competition very much and would love to participate in more competitions like it. Thank you for any and all feedback