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So... Seeing @PeterthePapercomPoser a.k.a PeterthePitifulcomPoser and @Thatguy v2.0a.k.a VincetheVeryVindictivebutnotValiant having their fight, I was enjoying my popcorn aside. But then I saw that Peter’s badge for this year Christmans event is so beautiful… it allured me to write my own Christmas music! This piece is really a joking fugue which uses Jingle Bell and Vince‘s “How the Shopper Stole Christmas” as the subjects to form a double fugue: (We all know Jingle Bell right...)(It’s great to escape from the pressure of the 6 voice fugue of the Sextet Second movement LoL….) I know Vince hates fugue, so I deliberately manipulate his theme with all sorts of fugal techniques to troll him muahahaha!!! I also include some quotations including my own throughout the piece haha. I dedicate the piece to him since I have trolled him haha! However, the more I compose this one it appears to me less of a joke… Joking Fugue on Jingle Bell and my Friend’s Theme Final.pdf Here's the structure of the piece: 00:02 Jingle Bell Section. Includes troll stretto, troll inversion and troll retrograde. Crushed by the Hammer at the end… And we need some help with the “festive mood”. 02:10 Shopper Section: Includes troll stretto, troll inversion and troll retrograde (the same LoL). The bell is repaired at 04:03 so the Jingle Bell theme returns to combine with the shopper theme but appears in minor. Some interesting polyrhythms happen there too, maybe Vince’s prelude style secretly invades. Tension building (but still have time to quote my own work LoL) for the… 05:28 Overly-Triumphant return of the theme which quotes the texture of the Emperor Concerto, another counterpoint of both themes and ends in a learned way LoL! Thx to Vince for this perfect audio! I think there are no tears here this time @chopin and no random pauses anymore I think. Hope you all enjoy this one and Christmas! Henry

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Hello everyone, I was really busy the past few weeks so only now I'm able to show you my new project. Estampas_de_España.pdf https://drive.google.com/drive/folders/1xnciHniD_iW3uBUrxphiy_p4QF9xaSEe?usp=drive_link (The same PDF just in case) Basically, I'm organizing a cultural project where composers from all around the globe put piano music to a selection of paintings. The best pieces will be included in a collaborative set that will be performed in the future (up to 16 pieces for the official collaborative album). The best composition will receive a 500 euros prize, the second best work will receive 200 euros prize, I will offer a few 30 euros rewards to other great pieces (up to 3 extra rewards). I hope many people will participate, see you soon! Don't forget to send me your painting choices so I can organize better (to my email ivanmusic1791@gmail.com). Here you have the drive with the paintings: https://drive.google.com/drive/folders/1rR-lpQH18sTy6qRqH2_QcR7DIMd4Z0Y8?usp=drive_link If you have any doubts contact me over email! But I will be able to reply here for a few days, but I might not check it as often.

Festive greetings all! I wrote this piece last week for solo piano. The score is still in a very primitive state, and has all sorts of problems I've not tidied up yet. (I blame Dorico!) There's even a flat that somehow floated away from the note it was attached to (in Bar 16). Not quite sure how to handle the enharmonic spelling issues, as it's a very chromatic piece. Think maybe my F sharps would all be better written as G flats? Or most of them anyway. Not sure what to do with the D sharps though? I may insert an extra passage at some point; but haven't quite decided yet.

Any feedback and/or comments are appreciated! I wish to play it myself and put the recording here as the computer generated version is not bringing out certain elements that I thought of while playing, and I'll try to do that soon. Who are you? (Track 3).pdf Who are you? (Track 3).mp3

Love the fugues - what a blast from the past it was to here Vince's theme! Structure wise the fugues are great. You could probably do with some more counterpoint practice (I don't claim to be any better lol!) but it's a great festive piece. I know that you could have written better transitions between the fugues though! Something less clunky than broken chords into the second? I actually think you dig yourself into a hole by extending the 4-voice bells over eight bars. Four might have been enough and you could have got out of it with more grace. However, if you were looking for it to be a pause-and-cadenza type passage then maybe it could do to be a lot more virtuosic than just broken chords. Thanks so much for entering!

I really like it hahah

Ok, here is my submission: I'm still working on it: so will probably make some more tweaks over the next couple of weeks (especially to the score, which is a mess rn).

Hey Aaron, This one is a very nice attempt! It’s a nice attempt on Sonata form! I am happy you are trying to extend your form, material and harmonic progression! It’s clever of you to use C major in b.9 as the pivotal chord for modulation! Very smooth there. It’s nice to use the deceptive cadence in b.22! The development is great when you move on to G minor and have the subdominant F major playing the theme! I think in the recapitulation of b.51 you may just cancel the F sharp, and change b. 54 LH to G B D G to signify the return to tonic! You keep improving in every pieces, congrats in that! Henry

Hey Alex, I really love your take on jazz harmony! I think both are ok since it’s jazz but not functional harmony. I think you can fill up those “random” pauses (a godly term I have recently learned on YouTube from a self-proclaimed genius who named me as a novice), like having some improvisatory figure in between? Just say your piece is related to snow or something and it will be Christmas related! Thx for sharing! Henry

so deliberately bad and un-Henrian anyway how do you reach major 10ths 🙂 ?

I love it, sound like a bartok but in a jazzy "children songs" of chick corea lydian sonority. I think it evolves very well, always interesting to keep listening it till the abrupt end. Thanks for sharing it 👍.

I think this is awesome. I was interested to hear how you would develop a heavily chromatic fugal theme, and the results are really striking. This piece has some really dramatic and powerful moments, and it all feels natural and "earned". Henry used the word "fluid", and I think that's an apt description, as well. When I listen to a well-constructed fugue, I always feel like I learn something about contrapuntal possibilities. And I always get that feeling from your pieces. You write with conviction. Thanks for sharing, I really enjoyed listening to this!

Hello @Aw Ke Shen, Welcome to the forum! A canon is a strict counterpoint piece when a voice exactly follows another voice. A fugue is freer when a subject is introduced by one voice and other voices join one by one by using the subject. Base on what I see yours is a canon. I see that you have a lot of parallel octaves between the voices. Maybe for a polyphonic piece you should reduce all those parallel octaves! Especially when this is a two voice canon this means a parallel octave will cancel out the independence of the voices completely! Also you can try vary the rhythmic pattern! The opening rhythmic figure keeps repeating in every second of the piece and maybe you can treat the two voices as a continuous unbroken line, rather than broken by different phrases! You can also add modulations too, besides in the middle section. Thx for joining us and sharing your music! Henry