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As implied by its title, this arrangement was based off my Crab Canon (aka. Canon Cancrizans) a 3 in C minor ( • Three-voice Crab Canon in B minor.): Since its initial publication, it has been transported one half step upwards to accomodate for the ranges of the instruments involved in this double trio, with the full realization played by the Continuo harpsichord part (which may be omitted entirely on account of the extremely wide intervals between voices in certain invertible configuartions making it rather difficult to play). Enjoy! YouTube video link:

Thanks! Yes, I agree it has some Baroque hints, most of my counterpoint is based on Bach's influence. The melodies aren't too special but the sonority is more videogamey. Oh, but I don't focus too much on libraries and sampling for now, it's just a miniature I came up that day. Yes, the bass doesn't do much here, it is more like a support. I only use MuseSounds, but I will consider buying some libraries later this year. Yup, I usually put some reverb but I was too lazy with this one haha. What libraries do you think are worth my investment if I only use Musescore for now. If you had to pick your 3 most reliable libraries and which ones are best for each group of instruments (strings, brass, etc.). I have no idea about all that and I never really used a DAW. It is a dark fantasy videogame! I really suggest people checking it out, it is a classic at this point. Yes, I left it open just in case I want to reuse it for a future epic piece. How about Musescore? And how expensive is it usually?

Very nice piece. I know the struggle of composing a crab canon, it's no easy task. I think something that helps a lot is the use chromatism and the melodic minor mode with it's ascending and descending versions (which you already did), the reason being that they have more flexibility and different symmetries that can be exploited to get melodies that work well in both directions.

Beautiful, Henry. Very emotional--reflective, inward, then exuberant The Chopinesque turns do it credit. When I first really decided to wade into Chopin's music a few years ago, it was like getting hit by a truck! He is so original, idiosyncratic in his expression. (It makes sense, --essentially trained by nobody, born a master...) As thatguy-v2.0 points out, almost every composer was influenced by others, and modeled works on ideas passed down. Its the nature adopting those ideas that counts. I just finished Richard Maunder's book on his Mozart requiem completion--and by the end I was struck by the many, many influences, cantus firmus borrowings, thematic variations Mozart utilized from Handel, Michael Haydn, Gassman and others --including his younger self.... But the Requiem is decidedly Mozart (at least what HE wrote!). This is decidedly Henry. Wonderful. And I learned what Locrian Mode is. I like that too....

As always seems to be the case with your music, I absolutely love it. And your compositional abilities as well as expression blow me away. 😁 That being said, I have two issues with composition itself. Although the 2nd refrain's "bell-like" texture is quite beautiful, it does obscure the melody a bit, especially bars 71-72. I feel just the top note of the octaves would achieve the same effect without obscuring the melody. I'm sorry for saying this, but I think the transition to the final return of the refrain is a tad too long. When I listened the first time, I was getting kind of impatient 😬 I have other issues, but they're just related to the engraving. For example, there are many points throughout the score where slurs collide with accidentals, articulations, other slurs, and sometime the notehead itself! Now of course, we're composers, not engravers. But if we make our own scores, it's my opinion that effort should be put in to make them beautiful and well-polished. Regardless, it's a very beautiful work. I look forward to the concluding movement(s)!