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This is the updated, final version of my Baroque keyboard suite, in the style of Bach. Overture Allemande Courante Air Scherzo and Trio Sarabande Bourrées Gigue Duration: 35:10 For details on the suite as a whole (including its architecture), and of the individual movements, please refer to commentary.pdf.

Ive been inspired by phil elverum’s music especially the glow, part 2. anyways I have a new piano piece and will post that once I refine the score.

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Violin Concerto III.pdfViolin Concerto II-Violín.pdfViolin Concerto II.pdfViolin Concerto III-Violín.pdf Long time no see! Finally I'm able to answer and I find a moment to do so. First, answering about the Musesounds... I just can't stand solo violin in the new soundfot (excess of gliss especially and all th weird dynamics things) and this is why I just decided to use the older "cleaner" version. Specifically about the movements, I'm glad to hear that you liked it, it was really interesting and enjoyable to compose it. About the third, this one is composed, definitely, in a more traditional way with much Vieuxtemps influence. The movement is based in scandinavian themes, first theme and trio. Here I attach the score and violin part.

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It's indeed a German sixth chord with Gb, Bb, Db and E, nice try on that! But the melodic usage of the augmented second between Db and E seems strange to me! Maybe you can instead having the Db in LH and just leave the E on RH! The resolve is correct tho to a I 6/4 chord!

Your music seems tastier with the mentioning of cheese!

Hi @piajo, First I think you can put the cello above the piano for the scoring! It’s more common to have the piano under the cello! I enjoy the bittersweet feeling in the music, C# major is great for that. B.21 is lovely with the texture of Japanese anime music. For b.25 afterwards it should be 6/8 rather than 3/4 since it’s compound metre here! Also I think the octave for the cello in b.20 will be hard to play. The ending is left opened with an unresolved ii chord and it’s up to you to decide whether you wanna end it with more firming progressions. Thx for sharing! Henry

Here's my chorale harmonisation of "Twinkle Twinkle Little Star"! It might get used as a chorale in a hypothetical cantata...Who knows!

Hey Aaron, It’s nice to see you try ternary form and a waltz! I see that you love using triplets, maybe you can semiquavers for the opening figure! That will make it smoother with G F E D C! For the Allegro I think you wanna try new things, but b.3 is quite weird for me! The E natural Db augmented plus the Gb bass reminds of Middle East music! Why not use Eb instead and Db in the next bar to hint Bb minor, before getting to B major in b.5?! Nice sequence for b.9-12, but I imagine one more will be in G minor before having a half cadence on B major and then get back to B major like what you do in b.13! Thx for sharing! Henry

Hi @gaspard Thank you! The Overture was inspired by two separate sources. The "prelude" from the first section of BWV 552a ("St Anne" Prelude), and the "fugue" from the first movement of BWV 1066 (Orchestral Suite No. 1). I had Bach's French Overture heavily in mind though when I architected the whole suite. Just like it, I wanted eight movements, extremely strong and characterful opening, closing statements and a central movement, and above all: contrast between the movements. Composing is only a hobby of mine and unfortunately I do it very very slowly and carefully - it's why I don't (or rather, can't!) write stuff more often.

Lovely piece! I also like the dissonant chords too, and on top of those, the diminished chords as well. On the notation end, I can also suggest ( if possible ) to use octave lines/ change of clefs for some parts for score readability.

tranquil, tempered, with occasional rises and a low-key dash of mystery Also reminded me of Erik Satie's Gnossiennes' ornament motif.

I like this one! The blend of dissonance and consonance adds a delicious dark touch. In terms of the harmony, I think the piece would benefit from a different balance of consonance and dissonance (completely my opinion!). There are a lot of fairly long fully consonant/functional passages, so that the unusual dissonances seem at times like an interruption of the line rather than being integrated into the atmosphere. Maybe this is what you're going for? I do like the basic idea of a voice and organ solo, it's not something we really see that often. The melody itself is lovely and the word-setting seems good to me. Cantamus obviously sounds great, but I'm not a fan of the organ - it sounds a bit like an accordion (maybe it's supposed to be, I can't tell from the score). The score is detailed and looks like you've put time into engraving - just make sure the dynamics are above the soprano stave so that the lyrics have all the space below. I think you've definitely achieved this! Thanks for entering the event.

Hello @miloclementt, Welcome to the forum! I enjoy the contemplative and little sad music of in F minor! I think you can change the E naturals to E flats to make the music even more contemplative! I love the patterns you are using throughout the piece since it makes it real flowing and cool. Thx for sharing your music and joining! Henry

I think it sounds very nice! The start reminds me of Erik Satie's Gnossiennes. I particularly like the muted sound, gives a very nice effect.