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Thanks to @PeterthePapercomPoser and @luderart for the ideas in this. It was my first dabble at using the mystic chord and a #4b7 mode, as well as trying out a short undeveloped form. I like the result, and hope you do to.

Well, I thought posting my demo for the PQ Andante was helpful, and \i am superstitious regarding composition so... Here it is. As with all things chamber music, it didn't come easy. At first I wanted C Major, but my mind was insisting on minor, which will work fine with a C minor, \G major \ C minor key plan. The music: First off, this is a demo of the themes, not a piano piece. I do believe this is only playable in parts by the 6-fingered man! The first theme is the "HEROIC" mode A theme, which I rather like, though I recognize it's a bit prosaic. When I set it to the accompaniments, it worked well. The "soft" B theme is a rather tranquil romance/nocturne type. I was very focused on breaking the rhythmic pattern of the A theme here. It should sound quite nice with long value notes from the strings--the arpeggiations are a stand in. The repeat of the b theme begs for some elaboration, but I can do that in the actual composition phase. The modulation back from F to C minor drove me nuts for whatever reason, but it is pretty close to good now. I figure I have about 4-to 4.30 min for the exposition, so I will have to be very strict with the material--I would like a few motivic digressions along with the standard passing of the melodic material around.... This movement will be a modified sonata form. Once the exposition is done, I will work on the development. Likely a third theme will be involved either here or in an extended coda... The accompaniment figures are trials only. I know there will be HUNDREDS of alteration, deletions, changes in the next 2 months or so. But generally, the idea is to increase the tension/intensification as the movement goes on. The allegro will be through-composed--NO repeats I want the audience to be a bit winded at the end, and the chorale-like andante seems like a welcomed relief, not a bore. This will be the first piece composed with the Vienna symphonic library SYNCHRON-ized solo strings and Steinway D-274. I'm excited to get going. I want to work on some countermelodic material and develop and detailed movement form roadmap--then its GO time! Any comments are welcomed! (PS: the DEMO is done with Garritan's Yamaha CFX "lite" sample library--quite an improvement over their stock sample.)

Nice job on the introduction of this piece which effectively starts on the dominant! You also effectively use dynamics to bring the flute melody into high relief in the beginning phrases. But then at 21 when the Violin has the melody it gets buried underneath the Cello and Flute. The crescendo in the introduction and the dynamics you use in the first full phrase of the A section are really effective at bringing the music to life, but later on (I guess because the piece isn't finished) you neglect those much needed dynamics to continue to properly balance the melodies and accompaniments of the composition. It is a really nice piece besides that. And I like your idea for the next theme which you haven't yet realized the accompaniments for. Also - it would be nice to have an updated score with the fragments trailing at the end of the piece included. What's keeping you from finishing this piece? Thanks for sharing this quaint trio!

I like all three of these pieces. But I notice a common problem to all three. You don't use 1st and 2nd endings in them. I think it would help tremendously to let the music flow easily without sudden hiccups because of a fermata that should only be part of a 2nd ending (as in the Andante in D major) or a hanging rest that shouldn't be there but should instead include the anacrusis which will allow the phrase to loop easily back to the beginning (as in the Allegro in A major). Thanks for sharing and good luck!

Hi, I missed this piece, but I find it amazing in terms of concept and orchestration.

Mind you that madman Henry is learning the 12th one now!

@Henry Ng Tsz Kiu has successfully learned 11 out of a possible 12 preludes. He's a madman I tell you... how does he do it?!?!?!

Thanks for checking it out dude 😄

yeah I hear that too....you know, I should probably finish that at some point. Maybe once I move and will have no friends I'll have the time haha I felt that way too. Thanks for sharing your thoughts Peter, I always like to hear what you have to say. only the chosen few get to use that font Glad you liked the end, it was the only time I changed what mystic chord I was on. Thanks Luder, I was inspired by the forms you use. I don't know how often I'll be writing undeveloped music, but this one felt right to end the way it did, and I was like, "I think I just wrote a soliloquy." Thanks guys!

Nice! You have succeeded in creating a great and mysterious atmosphere, in a short piece. I guess that you have been influenced by my idea of the "sententia". I hope to hear more short pieces!

Hey Vince, I seldom love a very short piece, but for me the brevity here creates a great suspense! The chords, rendition, even the gothic style font is a great combination. Again I like your quartal harmony here, this time it's more mysterious. You have development in this piece with wider register covered gradually. Great dissonant ending at the end! Thanks for sharing and waiting for your last installment! Henry

Wow! You've really packed a lot of mystery into the 39 seconds of this piece! I love the mystic vibes! I think it sounds like something out of Chrono Trigger - like when you can't open a black box passed down through generations or can't open a sealed door. I love your use of the acoustic scale and how well that jives with the mystic chord. It leaves quite a unique sense of incompleteness or like the whole thing is a mysterious unanswered question. Very cool and I'm looking forward to the final installment!