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A remake of that one is implied to be the next game in the reboot series! Thanks a lot! I experimented with other harmonization, but keeping the bass essentially as a pedal in most of it just gave it the feel I was after. I appreciate that! However, I was hoping for 3rd place, just so I could post this victory meme:

This piece is so expressive! It's like a complete 180 from the Etude I helped record for you (for my YouTube channel). If you had better samples, this almost might be hard to determine that it is a midi. Great job on the output. As far as the composition, this is a perfect example of how to write music to represent a situation, and I think the opening pizzicato intro was a great way to start the race. The beginning section almost sound a little like Tchaikovsky, but then then you get into your own voice immediately afterwards. Love the part where the hare takes a nap. I got lost in the timestamps but I knew immediately that this was nap time. This part here actually sounds a little like Tchaikovsky too, really cool! Overall, I'm actually impressed by your midi output and rendering. It seems like you are starting to pay more attention to dynamics. And wow, it really makes a tremendous difference in your music output!

Hello people! Late last year I helped organize and host "The Tortoise and the Hare" Young Composers Instrumental Music Composition Competition and now I've finally had the time to write a piece in that theme as well! I've picked Bassoon for representing the Tortoise, Piccolo for the Hare and Solo Violin for the Fox. I didn't intend for this to be a fully exhaustive set of variations on each theme - only to allow me to characterize each personality in the fable to the best of my ability. I've also tried to follow the fable in the form of my piece which goes as follows: 0:23 - A - Enter Tortoise 0:46 - B - Enter Hare 1:04 - C - Hare mocks Tortoise 1:20 - D - Enter Fox 1:36 - E - Tortoise & Hare agree to Race 1:58 - F - The Race Ensues ! 2:09 - G - Hare tires & falls asleep 2:17 - H - Tortoise hurries 2:34 - I - Tortoise passes Hare 2:51 - J - Tortoise tires 3:02 - K - Fox spots Tortoise 3:13 - L - Hare awakes and hurries 3:30 - M - Tortoise wins! Let me know what you think! I welcome your critiques, suggestions and observations!

Very nice but difficult to play with the sort of verve of your performance. Vaguely in the mood of Gershwin's Preludes without sounding like them but probably as difficult to play! The insistent 7/4 really adds a level of interest. In the way preludes are today It would make an excellent concert piece or encore. (I'm a bit late with commenting but I had to take a break from electronics projects and thought to devote some time here just listening.) Cheers.

Thank you! By the way, there is a new version of the prelude, a better one IMO.

Hello, Thank you for quoting me! I am very honored!

Here are the analysis! Sonata on The Themes of Outer Wilds Analysis INTRODUCTION (B.1 - B.14) - B.1 Part of Theme 1, Motif 1 (M1). It would then be divided into many motives and developed as an introduction to the piece. - B.4 lh is the first 4 notes of M1 - B.5 rh is a development of M1 - B.8 is part of M1 in pentatonic scale on upward motion EXPOSITION (B.15 - B. 98) THEME 1 (G major, B.15-50) - B.15 Theme 1 (T1) at its fullest, stated in l.h with r.h counterpoint. It is the Outer Wilds OST "Travelers" - B.23 T1 moves to r.h with full clarity. - B.26 Motif 2 (M2) - B.31-34 is a development of M2 for closure. It is also later used as a climax - B.35 l.h is the last four notes of M2 as an ostinato - B.37 Motif 4 (M4), later fully introduced on B.63-74 - B.39 Theme 3 (T3) inversion. It is an OST called "End Times", this inverted theme creeps in the whole piece. This theme will be fully introduced in the Lento Affectuoso section uninverted and used as an end theme. - B.43 Part of Theme 2 (T2) - B.48 M2 THEME 2 (C major, B.51-98, depiction of a sunrise on the planet Timber Hearth) - B.51 T2 exposition. It is the OST "Timber Hearth" - B.53-54 Motif 3 (M3) - B.63 Motif 4 on rh on its peak - B.67-69 T3 inversion rearranged. - B.63-74 M4 is used as ostinato on lh - B.79 lh is the first 7 notes of T2 while rh is a development of M3, all of which are used to rise to a much brighter and cheerful T2 at the Giocodamente section. - B.87-90 is M3 - B.91 rh second voice is M4 - B.91-98 rh is part of M1 that had been stacked together in a pentatonic scale forming a downwards motion. - B.91-93 lh is T3 inversion - B.93-98 lh is M4 DEVELOPMENT (B.107-165) - B.99 a callback and a development of M1 - B.102 T2 - B.103-105 T3 inversion - B.107-114 contrapuntal section of T1 - B.115-116 T1 developed - B.117-118 T2 developed - B.119-120 rh is T2, while lh is the first 4 notes of T1/M1 in variation - B.121-122 rh is the last part of M1, while lh is playing M3. - B.123-125 M1 as transition ================================================== Lento Affectuoso (INVERSION ZONE) (B major, B.126-146) - B.126-127 T1 inversion as the main melody - B.129-130 M1 as counterpoint on lh - B.130-131 T3 inversion - B.132 M1 - B.134-136 development of M3, with a sotto voce of M1 at B.135 - B.138-140 development of T1 inversion on r.h, while lh is M4 without the first note. - B.141-143 rh is T2 with different notes but same motion, while lh is fully introducing Theme 3 without the inversion for the first time. (B.142 l.h, first voice is T3 inversion, a response motion to the uninverted T3; B.143 lh is T1 inversion) - B.144-145 rh is M1 while lh is M1 inversion as counter melody ================================================== - B.147-155 fast moving development of T1 - B.156-165 development of the INTRODUCTION section, transistion to recap. RECAPITULATION (G major, B.166-206) THEME 1 (B.166-178) - B.166-171 T1 cut short - B.173 climax from B.31-34 - B.176-177 M2 but doesn't resolve - B.178-179 M1 developed - B.180-181 T2 but G minor - B.182 M3 contrapuntal THEME 2 (B.183-206) - B.183-194 T2 but much more calmer, obtaining the same mood as the OST (the OST opens with a free flowing section of a solo guitar) - B.195-201 is B.79 but much longer, a buildup to Molto Giocodamente CODA (B.207-233) - B.207-208 M3 - B.209-210 M1 - B.211-214 The glorious entrance of the uninverted Theme 3, with a counterpoint of Motif 1 on the lh, signaling the end. B.212 lh is T3 inversion as a response. - B.215-216 M1 pentatonic - B.217 T2, B.218 T2 retrograde - B.219-222 M3, referencing B.87-90 but much heavier. - B.223-230 is referencing B.91-98, but T3 in the lh is uninverted and resolved. - B.231-233 M2 resolved with satisfaction

Your first phrase in the flute is weak imo because it uses too much step-wise scalar motion which makes it seem like it's just wandering up and down the scales without really any melodic substance or significance. You break away from this a little with the melodies later on after measure 14, but the general idea is still to move by step. There are so many other interesting melodic tropes that you haven't even explored yet! You could repeat notes, use neighbor tones, passing tones, escape tones, enclosure, and appogiaturas just to name a few. Thanks for sharing!

I love X-Com 2! Mind you I'm talking about the really old one with general midi horror themed music X-Com 2: Terror from the Deep. It was mostly set underwater with Aquanauts scouring the ocean floor for underwater UFO's and aliens. LoL For not liking synths you make really great use of them in this. Harmonically, you stay a bit tonic-heavy throughout the composition for my taste with an occasional venture into the subdominant area. And you rarely write a piece long enough to warrant making a macro-tonal plan. But it also doesn't get bland or boring because of its brevity. In short, the piece succeeds at accompanying the kind of context it was conceived for. Great job and thanks for sharing! Also - thanks for participating in the competition - I feel like I was probably the biggest champion of your music in the competition (by which I mean that I liked it the most out of all the judges). And if it was up to me (as can be seen by my individual scores for your entry) you would have gotten 2nd place in the competition. Great job and I hope you participate again!

Hello @spike473, Congrats on the 3rd place finish of the competition! The aura of the piece is very unique and the combination of oboe and harp makes creative timbre! Henry

Hello everyone, I haven't posted in a while haha. I plan on composing more pieces, even if they aren't super huge projects, like the one I'm showing today. I composed this after I had a really bad argument with a family member and I used it to vent pretty much. While I composed the piece I also created a little eerie story in my head, although you can either ignore it and let free your imagination or use it as some small guidance. I actually don't know how I composed this piece, it all started when I found how the notes D, Ab and G made a really cool dissonance, then I tried to add context to it and modify it in a progressive way. As the piece evolved I recycled some ideas and motifs, so because it is so short even though I composed it in an improvisation style it ended up being kinda solid formally. So I'm quite happy with the ration between music quality and the ammount of hours it took me. I hope you enjoy it! Let me know your thoughts.

Maybe in terms of dynamic oboe can be a good choice with a louder low register!

I see. In this case I would prefer to use another instrument whose more "natural" range matches the composition. The sound can be richer. But, in the end, it is a personal choice.

Entry L - "cathédrale électronique" by @Paweł Siek (for flute [with glissando headjoint and circular breathing] and piano [with e-bows]) "cathédrale électronique" refers to aesthetics undergoing algorithmic transformations. The piece is a study of a slow, lulling and dangerously beautiful "immersion" in the sound world "without breaths". Thus, it refers to the state of sleep, immersion in a different reality, in which "other breaths" determine the course of time and shape an imaginary space - in this case, an underwater, sunken cathedral. During sleep, the rate of breathing follows your imagination. It also happens that breathing stops - in sleep apnea. The starting point are the harmonies present in "Jeux d'eau" by M. Ravel and "La Cathédrale engloutie" by C. Debussy, processed algorithmically in a program written for the needs of the piece - in order to generate qualitatively new, water-dream harmonies. Wide-range glissandi, possible to achieve thanks to the use of the glissando head, harmonize with the idea of using permanent breath in the piece. The piano part is mostly based on extended and stable "sound planes". On this instrument, one of the few ways to extract them, while creating further opportunities for modeling continuous sound, is to use e-bows placed on the strings.