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Nice music. I didn't hear anything that seemed out of place when I gave it a listen. True, musical memory is definitely a factor involved in determining how well-received a musical gesture will be. That's why, for example, a modern audience will often accept things like unprepared dissonances without batting an eyelash. Most people today have been exposed to such things all their lives and therefore hear them without being in the least shocked or surprised.

Honestly, it may be both, though perhaps the modification at the end (which can totally be omitted by the way, as its purpose is merely to enrich an otherwise strict, though lackluster ending) makes it more of a round, as most proper canons in strict imitation opt instead to have each voice gradually fade out in order of entrance. I cannot really recall having had classical notions of harmonic phrasing in mind when composing this one, though I must admit the longer values at the 2nd half of each measure of the original theme are quite noticeable, so perhaps a little more internal motion between voices would have been preferable. As I will most likely end up revisiting this composition in the long term, I shall take your criticism into account once I set out to do so. Thank you both very much for your reviews of this humble work of mine.

lol well, getting involved in a music community helps. The more you share your thoughts or ideas with composers, the more likely they'll reach out to you in return. Be social, that thing so many dread 😛 For future music, I encourage you to write shorter pieces so you can practice the techniques and ideas you learn about as you grow. You seem to have a voice as a composer, so take the music you love and study up why you gravitate towards certain sounds, scales, chord progressions, etc. The more you write, the faster you'll learn. This has a pop feel to me, as you mostly vary up small consonant progressions. The pauses were a bit weird, and we don't have a video for reference. Also, if you're lucky enough to have Henry comment on your music, take special care to note what he says. He's a better man than most. Good luck with your music, and like I said, be social!

Hello I'm not going to give you details of concrete analysis of anything because I have dedicated myself to listen and enjoy. And I loved it. I haven't had a dull moment at all. I think it has some lyrical parts and some very intense parts. As well as a lot of harmonic and textural richness, etc... Congratulations.

I have an example for you of a piece that includes cross relations between natural and flattened 7th degree which doesn't (imo) at all "undermine the smoothness of the musical texture". I'll copy what I said about it in the beginning of my Favorite Video Game Music Tracks? thread: This is a track from the original "Star Fox" for the Super Nintendo Entertainment System. "Titania" is an ice planet in the game that you have to traverse in the novice course to the planet "Venom" the ultimate seat of the antagonist "Andross". I like this track because of it's cool house beats and use of both the natural and flat 7th degree of the scale at the same time. If you listen carefully, the bass has a kind of tonic pedal-like riff that includes a flat 7th while the melody is playing a natural 7th. Edit: I think you have to include the factor of musical memory and how the ear, over time, will get used to a certain sound if it is repeated enough. In this case the tonic/b7th pedal riff is repeated throughout the track causing the ear to accept it without objection. Then the natural 7th comes in in the melody after a certain amount of time with all it's own melodic logic for why that natural 7th has to be there and it all just makes sense.

Hello everyone again, Today I bring forward my first choral piece that I've been proud of *in years*. It has been a very inspired piece written over the course of today (I skipped my Italian Class for this, Mi spiace!). Anyways about this piece. I've been wanting to write a choral piece for a while now, and I had recently felt inspired, so I've been scouring here-and-there for poems. And although I had read dozens of poems that moved me and made me want to write a piece; I struggled to connect the words and music. So I decided to write my own, and I figured the most convincing writing I could do, would be for my partner. So this whole piece is written directly to my love. The main overarching theme is; I could never overstate my affection, because words could never say everything I felt. So I use music to do so. The song begins with very classic American clichés. "you are the apple of my eye. the wonder of my daily life. my shining star" Exaggerated and cheesy language, which is how I talk with my partner. There are slow, fast, loud and quiet "I love yous" because I find myself saying it differently and meaning it the same way all the time. Then we get to the crux of the piece "I love you more than words could ever express. But I'll try". Even though just saying 'i love you' does not say it all, it gets me that much closer, and proclaiming love many times gets me closer to that unreachable goal. And then we loop around and say things again. This piece is in ABACA form and for the C section I decided to not use any words. I hope you enjoy, and please give me feedback to improve this piece, if there is anything (even if you can't figure out what it is) let me know and I'll take your feedback. This would be a good piece for my choir to perform, I just want to make sure I didn't miss anything important.

Hi Pabio @Fugax Contrapunctus, The counterpoint for this short canon is lovable! Just one question, is the long held note in the second half of a measure in most of the bars the signification of asking or answering a question? Otherwise I may just make the second half also more moving as well. thx for sharing! Henry

Hey @Fugax Contrapunctus! I like this piece! Correct me if I am wrong, but ignoring the independent bass voice, this is actually more of a round than a canon. The tenor starts, followed by the soprano and then, the alto. The imitation is carried all the way to the end for the last voice, the alto with the other three voices modified to reach a satisfactory conclusion. If I understand it correctly, it might be both a canon and a round? From what I remember, a round has a modular imitative structure which is why I started to think that this was a round. Thanks for sharing this enjoyable short imitative piece!

Hey Pabio, I should also apologise for getting too agitated. It’s one of my fault to blame others for not knowing my feelings while I am hiding all my feelings and others would have no way to guess it. I promise I will continue to review pieces including yours if I have time and energy to do so. Love, Henry