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Hello! This one of my pieces with lesser compositional quality... It was a very fun piece to work with so im posting it here too, just for the sake of it. Its for organ or harpsichord, in this midi recording its for organ wich i think fits nicely with the more contrapuntal style of this piece. This is a Fantasia (Back in the renaissance and early baroque era, the genre of the fantasia was just a broad therm for anything improvisational or without a structure) wich i used a renaissance popular tune called "La Bassa Fiamenga", You can find this melody extensively on various pieces of that time, and its one of the lesser known ones. Enjoy! Fantasia sopra la Bassa Fiamenga (2).mp3

This is a simple expression of hope. Spring - Spring.mp3 Spring.pdf

I think I wrote it, drawing the music staves onto blank paper, in some doctor's office in the '90s. ba Free Sheet Music by Robert C. Fox for Violin and Piano/Keyboard | Noteflight

I do these sorts of instant composition exercises, or did a lot in the past. Find one in a drawer or box...actually, the coda was added later in Noteflight, because I only found one page! The original ending can't have been much.

I really the the transition in the first theme! I really like the rhythm too. It is interesting. The start of the second theme is beautiful. Anyways, very interesting Potpourri.

Do we have to pay to know the ending this time? 🤑😜

It's Organum tho lol! The only term makes me laugh is "Contemporary Music" lol.

My String SEXtet must make you laugh lol Henry

Yes! Its actually not at all unstylistic, on smaller renaissance bands like Consorts and Alta Capella, dynamics where used. The problem is that i don't know how to use finale very well, wich is the software i use to make it, so tweaking the dynamics the way i would want would take a lot of effort, so its best to keep it bland.

Thank you!

Sextuplets (16th note triplets) JOINTS (head joint / foot joint / etc) pp Tutti

G String (orchestra, guitar, and ukulele) Nut (guitar and ukulele) Ogranum (organ piece with one pedal note held a very long time) Scat (A form of jazz singing that uses improvised nonsense syllables to create a melody... NOT animal poop)

At the request of one of my subscribers, I decided to try my hand at writing a passacaglia emulating the style of French Baroque composer François Couperin. While both my research and efforts may have proven relatively insufficient in convincingly imitating most of the intricacies found within his keyboard style to the fullest extent, I am nontheless pleased with the results of this little experiment. This work is supposed to be understood as a two-part ouverture as a whole: the first movement is comprised by a prelude riddled with double-dotted rhythmic figures very much intentionally reminiscent of other French Baroque ouvertures, specially those of Jean Baptiste Lully. The passacaille itself follows a strict repetition of the same harmonic baseline throughout the first two variations, which is then slightly altered in a kind of quodlibet by non-strict canonic imitation reaching up to 4 voices, followed by a coda almost identical to the last phrase of the prelude. Thankfully I finally found a way to switch between soundbanks of my harpsichord soundfont automatically amidst playback, which in turn allowed me to include various registers of the instrument across diverse sections of the piece, namely three: Grand Jeu (literally translatable from French as "Great Game": I 4' 8' II 8'), Petit Jeu ("Little Game": I 4' II 8') and Luth (the lute register, also commonly known as a compound buff stop: I 4' Lute II 8'). This composition will most likely be susceptible to getting turned into a 4-hands arrangement in the future, mostly due to the large intervals in some measures that can only be covered that way. For now, this version may stay as it currently is, since any difference between this iteration and said arrangement would be completely imperceptible using digital playback. Scrolling video link: French Ouverture - Prelude and Passacaille in F minor.mp3 French Ouverture - Prelude and Passacaille in F minor.pdf

In anticipation of tomorrow being Bach's 341st birthday according to the Julian calendar, I have decided to upload now the modified version of this fugue, which I initially intended to repost back on July 28th last year to commemorate the 275th anniversary of his passing, but couldn't due to circumstances which prevented me from publishing it in time. As such, in order to better honor his unparalleled legacy and eternal spirit thriving within the vast reaches of his art, still echoing through Western musical history long after the world was graced by the timeless genius, unabating magnificence and unmatched brilliance of his divine compositions, I have chosen to once again mark this occasion by sharing the definitive revised edition of this humble work of mine, originally based on the subject of his G-sharp minor fugue from the 1st volume of the Well-Tempered Clavier (BWV863b), as a tribute to his insurmountable greatness and immortal spirit. In roughly 10 days from now, his 2nd birthday according to the Gregorian calendar will also take place, so by then I may have hopefully finished another piece I'm currently working on in time to celebrate his actual birthday. Note: the whole composition has been rendered in A = 415 tuning and 1/5th-comma meantone temperament, in order to better, more accurately capture the Baroque essence this piece strives to convey. Scrolling video link (YouTube) Fugue in A minor (Subject from BWV 863b).mp3Fugue in A minor (Subject from BWV 863b) Piano.mp3 Fugue in A minor (Subject from BWV 863b).pdf

So, after one long, sleepless night of nonstop composing, springtime inspiration has blossomed into what I would consider to be potentially one of my best pieces to date. The 2nd subject and its exposition actually were originally part of a totally different, unfinished fugue in F minor, and as such its thematic relevance isn't as prominent as that of the main subject, though significant in certain passages nontheless. Enjoy! YouTube video link:

As stated in the title of this post, today, March 31st 2025, marks exactly 340 years since Johann Sebastian Bach's date of birth (at least, according to the Gregorian Calendar, that is). Thus, in commemoration of his insurmountable heritage and the immortal spirit abundantly residing in the plentiful boughs of his art and soul, reverberating through the ages of Western musical tradition centuries after he blessed the Earth with his industrious talent, unflinching devotion and heavenly music, I have decided to remember this special occasion by uploading a revised version of another fugue of mine dedicated to him as well: my Fugue in G minor No. 16, which I first dubbed "Bach's Legacy Fugue" on account of the repeated usage of his musical signature throughout the piece. Hopefully, in about 10 years' time, I will have composed yet another, more ambitious fugue to mark his 350th birthday, though sooner than that (this summer, in fact), I should probably dedicate a different composition to the 275th anniversary of his passing. Enjoy! YouTube video link:

After a series of somewhat unexpected and tumultuous events taken place last weekend, my sleep schedule suddenly got inverted again, and the subsequent rush of inspiration has resulted in this fugue being conceived and finished in under three days (or perhaps, rather, sleepless nights, should I say). Now that something productive has come of it once again, I can finally take some time to rest in whatever meager capacity I may. Enjoy! YouTube video link:

Completed for the most part in under five hours, this one could as well have been left with countless other unused fugal expositions, had inspiration not readily struck me in the middle of the night amidst a bout of insomnia. Enjoy! YouTube video link:

After another seemingly unending period of stagnation and lack of inspiration, one of the fugues I had been recently working on has finally come to fruition. To be quite frankly honest, I am still not entirely sure on how I feel about this one. Admittedly, some passages might require better connectivity between them, as some of the free counterpoint sections and pedal points might sound a tad too sudden and are perhaps in need of some reworking. But for now, this is all I can provide. Enjoy! YouTube video link:

This year, on occasion of my mother's birthday, I decided to compose a fugue dedicated to her. Even though this one was originally conceived as a strict permutation fugue, the subject's head unfortunately turned out not to be quite suitable for a stretto and therefore had to be modified at certain points. Enjoy! YouTube video link:

On occasion of this year's International Women's Day, I decided to compose yet another fugue for pedal harpsichord. Vivacious yet furious in character, this particular piece is meant to represent the struggles and righteous reivindications of the feminist cause, as well as to yield remembrance to female classical composers and musicians of such towering stature and long-lasting legacy as polymath Hildegard von Bingen, Barbara Strozzi, Marianne von Martinez, Maria Anna (Nannerl) Mozart, Clara Schumann (née Wieck), Louise Farrenc, Fanny Mendelssohn, María Malibrán, her sister Pauline Viardot, Mary Augusta Wakefield, Maude Valérie White, suffragette Dame Ethel Smyth, Lucy Broadwood, Margaret Ruthven Lang, Amy Beach, Poldowski (Regine Wieniawski), Rebecca Clarke, Florence Price, Germaine Tailleferre, Lili and Nadia Boulanger, Elizabeth Maconchy, Grazyna Bacewicz, Alicia de Larrocha and Kaija Saariaho, as well as those who are fortunately still with us, such as Sofia Gubaidulina, Errollyn Wallen, Unsuk Chin and Roxanna Panufnik, among gratefully many others. In certain well-known cases eclipsed in fame by either their brother or husband, in others shunned and forsaken by their own families, frequently beset on all sides by prejudice and disbelief in the then largely male-dominated world of professional interpretation and composition, the courage, endurance and spirit of excellence displayed by all these masterful artists is so humbling and awe-inspiring to learn about, that I thought to myself, I might as well put said inspiration to good use, into another one of my humble fugues. Enjoy! EDIT: an arrangement for piano duo has been devised and uploaded. The harpsichord recording has also been reuploaded, rendered in the customary fifth-comma meantone temperament of the original harpsichord soundfont. YouTube video link:

Apparently, I find myself once again amidst a rush of unbound creativity. Such fleeting downpours of inspiration must, in my opinion, always be unleashed and put to good use. In this case, the vast majority of this fugue has been finished today. The subject was inspired by a theme found in a videogame released relatively recently: Lies of P, which I have grown quite fond of (the few weekends I can return home to play it, that is). As a sidenote, from what I have read, trills on the pedalier part, albeit difficult to perform, are still executable with sufficient technique. The piece would have probably been more practically fitting for organ, due to the fact that pedal harpsichords are rather scarce nowadays. Still, taking into consideration the tastes of my audience, I felt it was best to use my customary harpsichord soundbanks anyway. Enjoy! YouTube video link:

Upon coming across this ascending chromatic motif while improvising on the violin, I wondered just how well it would work as a fugal subject. Having now developed it into another one of my fugues, I thus present here the results. Enjoy! YouTube video link:

Just another fugue composed over the course of last weekend, with a chromatic countersubject for good measure. Enjoy! YouTube video link:

Not having been able to finish this fugue by the 28th of July (the 273rd anniversary of J. S. Bach's passing), I decided upon its completion to dedicate it not just to the immortal spirit and insurmountable heritage of Master Bach (whose musical signature has been included throughout this fugue), but also to my dear father Ángel on occasion of his 60th birthday. Enjoy! YouTube video link:

This fugue, whose subject I came up with around late February this year, has finally been finished over the course of yesterday evening and today morning. Since the subject, albeit distinctive enough, was merely one bar long, the fugue itself is also somewhat short in duration, at least when compared to most other of its kind among my production. Nontheless, I think the stretti section from the middle pedal point on might compensate for that. Enjoy!

Having languished through an exasperating episode of "composer's block" for the better part of the summer, I have now finally realized to what extent my creative faculties seem to be correlated with sleep deprivation (one product of which is this latest fugue of mine). For the most part, I had tried to avoid said alterations to my regular sleep schedule since earlier this year, when a series of unfortunate events made me realize just how unhealthy not sleeping for half a week straight could be. However, this also meant that my long nocturnal composition sessions had to be put to an end if I was not to end up in an academic downward spiral capable of ruining my career expectancies. To be quite frankly honest, I do not know what to make of this as of yet. It appears as though I may have to reach a stable equilibrium of consciousness in order to be able to unleash my creativity without losing my mind to insufficient mental rest. Which, as with any personal golden mean, will certainly not be an easy task in the slightiest. Anyhow, here's the fugue. Enjoy! YouTube video link: Note: the harpsichord audio file uses an A = 415 Hz 1/5 comma meantone soundfont, as opposed to the equal temperament used in the video. I thought it sounded cool and not that dissonant as in more distant keys, so I decided to include it for some variation.