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Hi, wrote this piece in Concertato style after studying Corelli (particularly some of his trio sonatas). I think it has some elements of Galant Style there as well, but I have explored the possibilities of imitative counterpoint, fugato passages and exchange between first and second violins, which are in the essence of Corelli and baroque music. Also I have recently installed Musescore in my computer and I am quite impressed of the available sounds out of the box. All sounds used from the free libraries. I hope you enjoyed it and will be happy to hear your comments.

Beautiful imitation style and interesting modulations. I also like the final pedal with the upper parts conterpoint. It seems I need to study also Bach's chorale preludes. Thanks for posting.

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

Oh wow that's a discovery to me. I've been skimming through some: Pretty epic stuff, the three clefs all on the same instrument. Yes, some composer friend of mine also told me about this. I suppose that I care much about registers since they are very important in many accordion pieces. I will definitely try to make some organ music soon, many thanks. Kind regards!!

I just came with this little piece, It has been a while since I compose something new. I think it sounds a little bit like claude bolling's sentimentale. Let me know what you think 🙂

Hope this comes to a reality! Hi piajo. This piece has certainly a lot of unique character and energy. I liked the first section specially, it's a bit subtle, more of my taste than the next section (more energetic and relentless) that I liked anyway. As other composers mentioned, the transition you do from one "style" to another is notorious but not unpleasant. I would say there's room for improvement, or balance perhaps? Essentially: I would have liked more (development) of the red without jumping straight into the blue. But these are details, and I did enjoy your piece a lot. I hope you get to record it and publish it here! Kind regards, Daniel–Ømicrón.

Hi again AWS. Let me pose a question, hope you don't mind: Why do you use this figure here? You have the very same phrase later on and you don't use it. Did you want it to make it shorter? Why not using a quarter note with a Marcato symbol (which in musescore by default would reduce its duration to 67%). Apart from that tiny detail, I would say the very ending presents no problem. Measures like 28-29 seem more complicated to me or M39. The passage starting at M50 seems like the most complicated one to perform a tempo. Judging by how it sounds, though, I would say there are some strange articulation symbol combinations. What does the slur + tenuto + stacatto mean in comparison with slur + stacatto, for example? In some places, like that passage starting at M50, I think marcato would better suit the piece rather than an ordinary accent. Normally (so not an universal convention) marcatos in piano tend to mean the player must perform the note with a strong (sometimes stronger than the usual) short accent (normally by raising the hand out of the keys rather quickly). Perhaps you did already know that, but just in case I give you a rather common example. In Chopin's Op. 18 you will find marcatos at the very beginning of the piece. These are put not as a replacement of normal accents but with a further intention. Here's a video of it being played. Though this meaning is ignored at convenience of the performer (which isn't bad at all), this behaviour I'm writing you about is evident here: So in summary (sorry for the text density :B), I would say parts like these may be better performed marcato than with a full accent, specially the 2nd and 3rd accented chords. All in all, the piece isn't really difficult, but that also depends on the child, its level, and of course, the detail and care with which you want them to perform. Kind regards, Daniel–Ømicrón.

Yup, it does morphs from a to something of a I ,however, don't quite find the ending that abrupt, esp since many parts of the piece are somewhat abrupt anyways - so the abruptness is ironically expected. For me, the abruptness comes less from the rhythm and more from the ending chord. Maybe I'd suggest notating: a crotchet rest for boths hands for the second beat of bar 18 a minum rest for left hand for bars 48 and 50 a minum rest for right hand for bar 66 A short, nice piece! Thanks for sharing!

Thank You! Ooh...I should have done/ ( and if not possible ) stated that for the ending! Thanks for the recommendation. Gonna check it out! I see. Thanks for the feedbacks!

It is a great piece. I don't think the length is an issue of concern. But there are two aspects that I would take into account: a) the strict repetition of the phrases without varying anything (harmony, melody, accompaniment pattern) is not typical of romanticism; b) the same pattern of accompaniment so invariable throughout the piece makes it somewhat monotonous. In this sense the B part and its repetition or similar are too long for my taste considering that it repeats the motive over and over again. In measure 92, finally, there is a change of accompaniment pattern, which is fine. On the other hand, to fit totally in the style I think it needs some chromatic progression or some resource of romanticism. The way the harmony is, it's more like classicism. But well, in this sense each one writes as he wants. Greetings.