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@Thatguy v2.0 ... ... ... thank you. I'm kind of stunned by such high praise (and maybe I cried -- no details, but I'm just going through a lot) I remember seeing a lot of Berlioz's comments, but I actually never listened to Berlioz's stuff. I don't know why his music fell through the cracks for me. I wish I could hear some of his work, I love listening to people who have a unique style. And yes, my user name: Serge of Arni Village. From the game Chrono Cross. I was 18 when I played it. And there were times when the music (I learned later it was composed by Yasunori Mitsuda) would play, and I would just put down the controller and stare at the screen in complete and utter disbelief at what I was hearing. Thoughts and emotions that went far beyond anything I could have ever imagined, and to this day could not really describe (because the words don't really exist, and cannot exist, but can only be expressed without words, only sounds), and yet played in my ears, but now beating in my heart, a beauty and significance so powerful that it ached. You know how you once called me a "music chef"? Mitsuda's style of composition is, to me, like when a chef makes a "reduction", boiling a sauce down until it's most potent and amplified essence becomes manifest. His music is, on the surface, so unbelievably simple, and yet somehow, done in a way that stripped away all "distraction", and is so sincere, so raw, so completely devoid of anything even approaching the pretentious, that all that is left is the boiled-down reduction of a pure emotion. (And so underneath the simplicity belies genius. Mozart said something I believe is really profound. "Love is the soul of genius." The complexity of a thing or lack thereof isn't the soul of genius -- it's the love you put into it.) And experiencing something like that changed me. Listening to his incredible soundtrack is what made me want to be a composer in the first place. I never, ever would have gotten interested in composition if not for that soundtrack. (Incidentally, some of Mitsuda's music features striking pauses. I learned early on how important pauses can be!) I feel the same way as you about music: music isn't about difficulty, it's not about flashiness, it's not about proving oneself in whatever way... to me, it all comes down to, "do you have something to say?" Then, say it. Express it. Even if it's uncomfortable, or it hurts to say, or it makes you feel too naked: say it. So, thank you, @Thatguy v2.0, and again, thank you @PeterthePapercomPoser and @Henry Ng Tsz Kiu for taking time to listen and comment. I really appreciate it.

Wow, this is really good I've listened to this twice all the way through, 3rd time as I type (and dogs bothering me lol). I'm glad you posted all 3 movements together so we get the full picture for what you were going for. I have to say, after hearing the full scope of your vision, it'd be a shame if someone ever only knew a single movement. Yes, they absolutely could stand on their own, but the way they coincide with each other and need each other's parts for continuity is riveting, suspenseful, and ultimately gorgeous. You've been here a long time as have I; do you remember Berlioz? Everytime I heard something of his, no matter how "good" or "bad" I or anyone else thought it was, it was undeniably his own style, and I think you achieve the same sentiment. Where you lead the listener is incredibly unique to me. A lot of times I can tell where someone is going with their music in some spot or section, and that's fine. Sometimes it's exactly where I want it to go (that's pretty good!), but other times it's somewhere that's a let down (that's pretty bad!). But with your music, I don't know where it's going. And instead, I feel like I'm taken on a journey. Movement 1 was creative, bold, brash, exciting, emotional, jarring yet beautiful, harsh yet lusciously crafted with clearly loads of thought and tinkering. I love the care you take to the textures throughout. You're not afraid to be rhythmic and catchy, and you contrast that with ingenious isolated notes. You did a fantastic job at using sonata form. To me... I'm no expert. But if @Henry Ng Tsz Kiu approves, I approve. It sounded like it to me, you had really clear sections and transitions, so nothing felt out of place. Your music even gave the form a great sense of poetry to me, so kudos (I'll be referring back to your piece among others for when I get the balls to write a sonata). The first movement was probably my favorite, with lots of cool stylistic rhythms and motives that sounded unique. It was very dramatic, and you used some pretty cool chord choices (for instance, I love vi - bVI stuff 😄 ). I never got bored, and you had a lot of well placed rests, shifts in material, transitions, etc., to keep the music flowing without ever getting stagnant. I really like how you glued all the movements together, too. Little intros that led to the next movement, or short interludes foreshadowing something to come. Don't let me understate the second movement, however. Serge...of Arni Village... you wouldn't happen to be a fan of RPG's?? This movement gave me nostalgia, as I couldn't help but think of playing 16 bit SNES RPG's while listening. I love how you kept it simple, yet still explored a bit of technique (hand crossing, for example). In fact, an overall welcome when hearing this was the fact that you kept this playable for the majority of serious seekers of piano greatness. And not just the second movement, but for the entire sonata... I could tell you kept the player's efforts in mind. Wait... is the 3rd movement my favorite? I can't even tell anymore, the whole thing is fantastic and well-executed that it doesn't do it justice for someone to hear only one movement. You take previous themes and shape them into a bar-brawling dance, only fitting after the dramatic first movement and the beautiful chorale-type second. You make the finale joyous and fun, rambunctious yet controlled in a masterful way. Once again, I really like your style. And I REALLY like how you're not afraid to be simple. I hear too much showmanship and fantastical feats with composers trying to "prove" themselves, when in reality that not what music is to me. Never forget to use rests (which you do), and space (which you do), and timing (which you do), to just say simple words for simple people. And when the time calls for it, bedazzle them too with masterful artistry at a chosen instrument. So yeah, I dig this. And, you've become quite the composer. I hope you choose to stick around friend, our community could really benefit from your insight and experience.

Hello! I decided to join in the ongoing event...It's my first one since joining this forum! With this piece, I had originally started it just to play around but really liked where it was heading and decided to turn it into a fun little piece that in my mind, it the backdrop to a busy toy workshop in this holiday season or perhaps some holiday hijinks. As the usual, this is made in FL Studio using a combination of Spitfire Audio VSTs (both paid and free) and this time also Amadeus Symphonic Orchestra. It was an early idea in the making of this to use the sleigh bells to signify a change in the piece. I really tried to embrace some different vibes with this song than I usually do! Hope you enjoy the song and have a great holiday season! The Busy Workshop.mp3

MP3 Play / pause Track 14 0:31 2:27 volume > next menu Track 14 > next PDF Track 14 Sounds lovely as it is.

Hey @Setthavat, Thx man! I think I am better today. Congrats on able to perform your own piece in the composer's concert! The piece is indeed whimsical with those applied and quartal harmony and unexpected modulation. I quite like the first section of the piece with those capricious and not so functional harmony. It's interesting that even though the piece is named "Whimsical Waltz", the character of waltz is keep losing throughout the piece: the waltz pattern is lost in section B and the time signature is even changed to a duple metre in b.131! I feel like the direction of the piece is a bit lost after the modulation. Even though the climax at the end is well built, I feel like it's built for the brilliance of your ability as the pianist rather for the piece. But of course I am subjective and can be nitpicky on this. The Cbs in b.26-29 need not to be marked since it's already indicated in the key signature. Thx for sharing the piece and your shoutout, I really feel it😊. Henry

I misspoke after glancing at the score too quickly. Nonetheless, my point stands. After that long cadential sequence, just ending cold on a tonic chord sounds way too abrupt for me.

I enjoyed this. The only thing that didn't sound quite right to me is that it seems to end somewhat abruptly. We have three measures on the dominant at m. 30, then a cadence in mm. 33-34 that just stops on the tonic chord. I was expecting at least to get a measure of the arpeggio pattern on the tonic at the end, and it felt a little "off" when that didn't happen.

Hey Vince, This time my face blushes red as an apple which I have just finished haha. I really hope I can keep reviewing and actively engaging in the forum, even though not as frequent as in my first year when I want to review every pieces here. That's possible, but it will take you much energy, and now when I feel like I don't have that energy I will just stop reviewing. I still have orchestral music to conquer so I don't thing I'm in anyway extraordinary, but thanks for your compliment. Each and every day the sun rises if it doesn't explode after billion years, and I'm sure many talented composers will still join YC without me, and I feel really lucky to find this site (I learn the meaning of "stumble on" now haha) and become a reviewer in mere 3 months(!). The best thing is you can find knowledgeable composers to interact with when you can hardly find one in your real life. And me too, I feel surprised and happy to know many people including you half a world away! 💋

Look at you, Henry. YC's greatest and most prolific reviewer, AND one of the most extraordinary and knowledgeable composers on our site. This place would be a ghost town without you, and your kindness and hard work helping us brainstorm and build this community has been instrumental. You're the new lifeblood of YC, and you've helped me stick around when I've felt like I've been surrounded by a sea of people only here to promote themselves. Im very happy you stumbled into this dusty corner of the internet, as I never knew a friendship could have been made on an old school forum website with someone half a world away. 💋

A few years ago I composed a suite for solo piano to commemorate my time in Iceland. The suite was entitled simply, "Icelandic Suite," and featured five distinct movements, each attempting to capture a little bit of my experiences there. As I was playing through the final movement recently, it dawned on me that—perhaps—it would arrange quite nicely for orchestra. And so I set about doing that. I was so pleased with the results that I thought I'd share it with the forum, as well! The title of this movement, "Lofsálmur," means "hymn of praise." It opens with a simple statement from the woodwinds which eventually transforms into a "chorale without words." This transitions into a dark and brooding middle section, with loud and dissonant exclamations from the brass. Finally, the chorale returns with a triumphant recapitulation from the orchestra, and the piece glides back into silence with the gentle woodwinds once more. I was deeply inspired by the hardships the people of Iceland have had to endure over their storied history, and the entire movement is a testament to the dark times we must traverse in order to achieve our truest expressions of praise. I've included the piano score which you are welcome to follow along with. Time permitting, I may upload the orchestral score (needs some polishing). Please let me know what comments/criticisms you may have, should you have time to give it some attention. As always, happy listening!