Leaderboard

You'd be close, except, forget "tall" and forget "Muscular" I ain't that purdie 🤣 I'm 5'11", Hairy, and slightly pudgy, with some visible working man's biceps. That's about it, for my appearance. However, I've always thought about the contrast between my Burliness as a hairy mechanic & the sorrowful / meloncholic / emotionally charged theme of my original music scores to be quite humorous, myself 😅 I suppose my music can be percieved as a representation of all the things that I'm unable to say outloud, what with the social stigmas in the USA for Men that place an emphasis on refraining from expressing emotions, verbally, or through crying etc.. Music provides the outlet for some of those emotions that our society deems unacceptable for me to display. Anyhow. Thank you, Wieland, for your kind words and detailed feedback of my piece. As I stated before, I know that it isn't my most complex work... Life kept me from feeling the same desire & inspiration as I have before, while also preventing me from having much free time to actually work on the thing... I feel it could be so much better, but that's the best work I'm able to offer, at this current period of time, on short notice 😮‍💨 Thanks, again! -Unc

Hello @UncleRed99 ! First of all, I’m (once again) impressed by the “warmth” of the sound in your pieces. Whenever I look at your profile picture and think about your job as a mechanic, I picture you as a tall, muscular man, sweating in the blazing sun, covered in oil, and dragging two heavy tires across the workshop yard. (Haha, I could be completely wrong about that, and it’s really none of my business, so please don’t take it personally…) But this in mind, the contrast with your mellow and somewhat melancholic style is fascinating: you every time capture it with well balanced instrumentation. Looking at the picture of your submission and the title „warmth“, I was first a bit confused, since the autumn valley depicts that the warmth (or even heath) of summer has passed away. Thus, the „warmth“ you mention must come from inside (from the buildings and/or from the people living there). Melodies Themes Motives and Harmony Chords Textures: The piece thrives on its serene harmonies, which are presented in various motifs by all the instruments in a gentle interaction. I particularly liked the modulation in measures 95–97, which captures the listener’s attention. I would have liked to see more moments that break up the otherwise tranquil flow of the harmonies. Form Development Structure Time: The form reminds me of a „theme with variations“ which is fine, but naturally carries the “risk” of a certain repetetiveness. Originality Creativity: Yes, there is no „crazy“ idea, such as a weird instrumentation or an unusual rhythm, but you emphasized your own, personal original style (as initially mentioned). Score Presentation: The score is clear and professional with no issues. Instrumentation Orchestration Playability: Even you have not chosen an „exotic“ orchestration, the sound produced by this traditional ensemble is unique: I love how the mellow piano blends with the string instruments which sometimes have a surprisingly beautiful touch of woodwinds, perhaps like a clarinet. Since the piece avoids complexity and virtuosity, it should be perfect to perform and is thus one of the few submissions that has a chance of being performed live. Execution of Given Challenge: Musically, the piece perfectly captures what you described and depicted in the picture. Taste: It's a piece that's pleasant to listen to and has a calming effect. However, there's a risk that you'll quickly start listening to it only halfheartedly. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9.5 9.5 8 7.5 10 10 9 7.5 Average Score: 8.875

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 9.5 10 8 9.5 10 10 9 Average Score: 9.5 Review: In this work, there are many motifs that intertwine to shape the piece and form part of its driving force. The harmony does not seem particularly far removed from tonal conventions, but it does include effective modulations. The turn it takes in bar 96 towards the end is very beautiful. The form is very clear and the sections are well defined, with a contrasting central section that works very well. The arrangement is fairly standard, but the chosen sounds capture the character of the landscape very well. Perhaps the piano, although evocative, sounds a little dark overall. The structure is very clear and the sections are well defined, with a contrasting central section that works very well. The combination is fairly standard, but the chosen sounds evoke the character of the landscape very effectively. Perhaps the piano, although evocative, sounds somewhat muted overall. The score is beautifully presented and I believe the challenge has been met; indeed, amongst the many pieces evoking landscapes, this is one of my favourites.

I wrote my first string quartet. I liked it while I was writing it, but now listening back I'm not so sure it would keep the attention of listeners. Maybe I regret opening with a slow movement. I think 2nd movement is best. I like the section in 3rd mvt. from 15:25 to 17:08, because of those chords and the counterpoint. And maybe I should have used more modern harmony in places to spice it up. 00:00 Movement I. 07:27 Movement II. 13:22 Movement III. Od. G. - String Quartet No. 1.mp3 Od. G. - String Quartet No. 1 [2026-05-29_06-41-34] .pdf

Entry: Warmth Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 9 9.5 9.5 10 10 10 10 Average Score:9.75 Review: With its' simple texture and harmonic language, this entry created the correct spring aura for the competition. I thoroughly enjoy strings and the piano were playful with each other. They danced around each other and provided melodic and harmonic support. That was clever. The score was easy to read. This is definitely playable. I can see being played at schools. Perhaps middle grade. As composers, it is know who will perform will our music these days.. This was truly creative. Keep writing. Kvothe.

my submissionnnnnnnn

I check from wiki and it says Muffat and Glinka were born on 1st June.

Melodies Themes Motives: The only perceivable motif is the ascending two-tone-repetition, mostly in fifths. Harmony Chords Textures: The texture seems to be more or less „random“. The harmonies fluctuate between simple intervals and unplayable clusters. Form Development Structure Time: I would say, it is in „free form“ since I could not recognize any traditional musical form or structure. Originality Creativity: Yes, it has clearly a kind of „originality“ and „uniqueness“ among all submissions in the contest. Score Presentation: Although a score is provided, it raises more questions than it answers. Which instruments are playing? What key is the piece in? How is a musician supposed to read up to nine ledger lines? Instrumentation Orchestration Playability: Since there is unclear which instrument is actually playing, the playability is hardly judgeable. Some of your „chords“ or clusters seems to be unplayable on every instrument. Execution of Given Challenge: Beside the criticism on the other criteria so far, I’m a bit disappointed that you did not take the contest as seriously as it could be easily done (even with few or no musical skills). The task of the contest was to depict a landscape musically and this subject inherently requires to think about what you want to represent in the piece first. Therefore it is not understandable for me submitting the piece without having a title or idea. And honestly, I do not associate the mood of the piece with „rainy weather“. Rather I think of annoying insects circling around me. Taste: I don't really like music that sounds unnatural, like it's coming from a music box. However, your piece—though annoying—offers an interesting contrast to all the other romantic pieces that might lull you to sleep if you listened to them one after another. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 3 2 1 8 1 1 5 5 Average Score: 3.25

I wrote this piece with a focus on form over programmatic intentions. It is by far my most complex work yet, with a few distinct motifs which are reused and varied throughout. There is very few times where the motives are not apparent. This is also technically a first full draft, but I was very excited to show you all this work. Death of a Knight.pdf

oh i was kidding but i didn't know that.

Good day everyone. I have taught myself something of late. Since my teenage years, when I started on this path of composing music I have always had a degree of perfectionism that has arguably slowed my completion rate of works considerably. I have much unfinished in my library and to an extent this has been a source of shame of sort. However, I had complete several large works despite this. One such work that I wrote between 2018-2020 is a wind quintet that I was immensely proud of at the time. I had largely convinced myself that it was at a 'perfect' state - that is, there is not much left to refine. But revisiting this work 6 years on, I have learned something interesting: first, that my impression of what was 'perfect' is relative to my skill and experience at the time and that, while the stridence for perfection seems quite static in a mental sense, standards are being continually adjusted through time in accordance with skill development (which is less visible). The second - and probably most important - realization is that when I revisit old pieces that I did complete but are now imperfect; this does not concern me. In fact, those works in effect form a rough foundation for what otherwise could be a brilliant piece of music; the ideas are already there and it mostly becomes an exercise in simply revising the voice leading. Thus, the lesson: what we compose today does not need to be the final product. If we encounter challenges, accepting that it will just be a sketch to be revisited later down the line could actually enable us to be kinder to ourselves. Which brings me to the music itself. Of interest is the Allegro (00:00-04:50) attached that was initially composed for wind quintet. The 5th instrument was not really adding much and its lines could be easily integrated into what was ultimately four part harmony/counterpoint. I make use of certain motifs throughout the work that I hope is noticeable. I have attached a largo that I also revised recently that was scored for 5 winds that will serve as the second movement; and I have just started some rough ideas for the final 6/8 movement. Those who listen, please do share your feedback. If of interest I am also considering running some voice leading tutorials on my Youtube Channel that I intend to grow. Perhaps I can make a video where I revisit old pieces and review the voice leading... explaining my justifications for revisions ect. PS - Here is the link to the original version for those what would like to compare....: https://youtu.be/gfqzwQ4jzyw String Quartet in C.mp3 String Quartet in C.pdf

Just thought I'd insert the place where Alex taught me how to counteract this effect in Musescore!

helloooo "The Voyage of a Lone Ship" is a piece for mixed quintet (violin, cello, horn, timpani, and piano). it is based on a sketch from the website youraislopbores.me*. i've asked a random person to draw a landscape for me to base my composition on and what i got is this sketch of a lone ship sailing on the sea under a starry night. the piece contains many different aspects that i try to portray: the lone night voyage, the shimmering star, the creaking wooden ship, the wavy sea, the exciting morning conundrum, and the night fall once more. *of note, youraislopbores.me is a website where real people can roleplay as an ai and answer/draw prompts from humans. people can also be the role of the humans and give the "ai(s)" (people who's roleplaying as ai(s)) many kinds of prompts. therefore, this artwork is not made by ai. a real anonymous person sketched my prompt and created the artwork below. this website is an act against ai art in general. im going to be honest, composing this piece was a tough journey. i had to rewrote the early sections so many times and my motivation keeps dwindling down day by day to finish this, but ive pulled through!!! i'd say there are many things that i'm not entirely satisfied with the piece, but it's in a good enough condition for me to post. also mightve gone overboard with the duration, oh well lmao enjoy the piece guysss The Voyage of a Lone Ship.mp3 The Voyage of A Lone Ship.pdf

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7 9 7 10 9.5 7 5 8 Average Score: 7.8 Review: This is a very creative piece, starting with the painting (which I love) and the concept. I’m not sure the music in particular evokes that for me, but it’s so subjective... It’s true that the piece goes beyond what was supposedly the challenge. The combination of instruments is original. I think the French horn works well in this ensemble because it has such a powerful projection. Although with virtual instruments, it’s sometimes easy to alter how it would actually sound. There’s a strange shift in style, but I like it. It reminds me of a contemporary opera written in a non-tonal language where, suddenly, everything sounds like jazz. The score is very good, though is there a reason why the piano is printed in a larger font? I also have doubts about those multiple stops, even with techniques like con legno.

Dear all, This is a short piece inspired by my trip last year with my girlfriend on a winter trip to Alishan at Taiwan, and we were visiting it in the afternoon. The photo is taken at the entrance of the Alishan visitor's zone. It is a place of high mountains with tall, spiritual trees, among which we travel with light railways and walked through the bridges. Being from a city with concretes, this jungle is particularly peaceful and you can always find the beauty of nature there. I have always been eager to write a piece as a diary of my visits, and it is a completely good time (the competition) for me to write one. Hope you all like it! HoYin Alishan for Flute Quintet.pdf

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9 9.5 8 7.5 9.5 9 10 9 Average Score: 8.9 Review: Melodies/Themes/Motives - The work is rich in motifs and themes, some of which are readily apparent, whilst others are deeply woven into the fabric of the piece. Harmony/Chords/Textures - The texture is dense, but the individual parts are clearly defined. Form/Development/Structure/Time - I sense a progressive structure, but it’s by no means boring. Originality/Creativity - It is a standard, effective combination. Score Presentation - The score is correct and easy to read. Instrumentation/Orchestration/Playability Reading the comments clears up any doubts about double or multiple stops. Execution of Given Challenge - I think the author has succeeded in achieving his aim.

Thank you, sir I'm glad that you were able to enjoy that, despite it being a piece that, frankly, I had difficulty finding inspiration writing for... This was definitely difficult, to me, and I certainly feel like there could've been more done within it's current duration to elaborate on the overall consensus of the story the notation is trying to portray. Personally, I feel that it's a bit repetitive, with a couple of nuanced expressions of the original idea spread throughout... which is fine, technically, but makes for a less impactful story in the end. I just hope maybe others might think differently but I suppose that has yet to be seen and we'll know for sure as more members comment their thoughts here. Thanks for the feedback, and the kindness you've shown my work :) -Unc

Thanks, Henry! The delayed recap you mention is something I came across in JC Bach's piano quartet in G major during my early studies. Likewise, he commenced such a passage on a diminished 7th of the home key that marked the end of the development section. It is less of a trick in my view than a way to build momentum towards the initial theme (opposed to commencing immediately after the dim7th that may otherwise encourage reflection). Your note about the slides between non slur notes is informative. I really don't like it either but didn't understand why it does this. I wonder if by adding slurs it resolves the issue. All the best, Markus

Hey Guys, I recently finished one of my first orchestral works and wanted to get some feedback on it. Some background to me and my Expertise: I played the trumpet and the piano for over 10 Years now, starting at a young age. I did my finals in music, playing Rachmaninoffs Prelude in g#-minor and a glass etude amongst other pieces. In my freetime, I play in several local Symphonic Brass orchestras, Symphonic orchestras and sing in some choirs. I also founded an ensemble with a friend of mine that is well-known in my city. I currently study teaching Music and German. When it comes to creating music, I originally come from "producing", writing Lo-Fi, Ambient and Alternative amongst other genres. I always transcribed and arranged classical work for my school orchestra but only started composing 2-3 years ago as an autodidact. Composing was just a hobby for me for a very long time, but now I'm starting to think about entering some competitions (Local and Amateur level ofc) and trying to get my music played. So any feedback that gets me closer to that goal is much appreciated! Thanks! m1.6.mp3 Echo der Liebe_Full_Score_A3.pdf

Great work, I througholy enjoyed it. Quick notes: your main motif that first appears in the horn, you should use sharps instead of flats, as in A# instead of Bb because you're then leading into the B. Just the more easy to read version. A piccolo to flute switch cannot happen as quickly as you have written on page 4. I have a feeling you know this an ignored it for play back but still worth mentioning. m. 90 oh my god so stunning. Shook me to my core the same way when my favorite character in a movie dies. m.120 B natural not Cb. Really beautiful melodies and accompaniment. This is phenomenal work, regardless of if it is your first. However there are some general things to mention. The first is the doubling, or in your case, half-the-orchestra-ing. Every composer has done it, but it almost always in the beginning of their orchestra careers they do so. You’ve written a phenomenal melody here. Right now, it's heavily doubled across a massive chunk of the orchestra. It's a classic trap we all fall into because the melody sounds so good we want everyone to play it! However, when everyone plays the melody at once, we lose the unique fingerprints of the individual instruments. What if you experimented with passing the melody around like a torch? How does the emotional weight shift if a solo cello introduces it, and then a clarinet takes over? Try giving the melody to fewer instruments at once, and use the rest of the orchestra to create distinct, evolving textures underneath. Make us believe that this specific instrument is the only one that could say this part of the phrase. Also for the accompanying instruments, find new ways to accompany so even the double basses can have something interesting to do. I myself wrote (and still write) works similar to yours, but I would recommend fighting your desire for the super double, instead finding new ways to fill the space with sound. You'll find this in most composers, but my favorites for understanding this is Brahms, Tchaikovsky, and Rachmaninoff. Also resources: Principles of Orchestration by Nikolay Rimsky-Korsakov (Korsakov is a huge stickler for reduction in the orchestra to maximize color) The Study of Orchestration by Samuel Adler

Nice work! Very Pleasant.

Entry: The voyage of the sunken ship. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7 7 7 10 10 6 2 8 Average Score:7.12 Review: Execution: One of the requirements is write a piece with in 3-7 minutes. This was 9 minutes. The overall aura of this piece is mixed. At times, it gave off eerie mood then it didn't? Score Presentation: The score was readable and there were no engraving errors. Instrumentation: The imbalance between the strings and horns is problematic. You could not horn at all! Watch out for those stops in the string part. Make sure they are playable! Creativity: Yes, this a creative piece. The over structure and form of the piece is hard to determine. I am not sure if it is sonata, or scherzo, or something else... In general, I would want to see him grow as writer and see more of his works. He has the potential! I love what he did here.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 5 5 10 8 10 10 10 Average Score: 8.25 BipolarComposer. Great job overall, my friend. You've depicted what you were aiming to with this one. Very Ethereal and mysterious sounding, just like a large still lake in the early morning on a cloudy day with a layer of mist rolling over the top of the water, is what I was able to imagine. I agree with pretty much all of the suggestions that have already been made to take this score to the next level, should you decide to continue editing after the competition. Thanks for your submission! Keep Composing! -Unc

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 1 5 1 10 5 6 1 5 Average Score: 4.25 the reason I score the way I do is; This score does not have a motif/themeatic element that's familiar to the listener to pick up on. Your melodies feel "random", in a sense. You did well with keeping solid harmonies that resemble chords that can be discerned from one another, but I feel the execution was lackluster the Form of this score is.. well.. there is no form. It's quite "thru-composed" without any disctinctive sections. (Think Binary, Ternary etc...) Originality. Well, it's definitely original, and you do hit the mark on making it sound similar to music from the culture that you're aiming for It appears that you have left the score in it's original formatting in MuseScore studio. Not bad formatting, but not very distinctive or "neat" appearing, imo. There were a few areas in here that appeared to be difficult or nearly impossible to physically play with the instrumentation used, but generally, it is playable Unfortunately, the duration of this score is too short to fall within the parameters of the competition rules... Taste. I'm honestly unsure of how to determine my judgement on the taste of the score, so I've simply scored it as a 5. Keep composing! -Unc

Certain parts of this remind me of the Halo OST soundtracks. :) Very harmonically intelligent, and enjoyable to listen to. I have no critical feedback on this one that's right at the top of my head to point out without doing an analysis on the score itself. Great work

One of the most Famous Melody's in the world Baroque Concerto.mp3 Baroque Concerto.pdf Baroque Concerto.mid

Sorry Guyz...................This post wasn't created as a tribute to anyone's birthday Just the Fact that , if anyone Hummed this melody , to most people in the world That MELODY would be instantly Recognized.......... Despite the Fact that nobody knows who created it.................. or where it came from How do you explain that ?

Thank you for your comment, @Kvothe. In actual practice, a string player will still hold the bow and use the index finger (for violin/viola) to perform pizzicato. That way, they have enough time to switch back to arco. quickly without disrupting the performance, at least from my experience as a violinist. The quadruple stops are also taken care of when I write this piece and should not bring too much of difficulty playing. Most of them are designed and indicated to be played as broken chords for better playability and for intentionally lighter textures. Moreover, open strings are used to make the chord more resonant for better projection. The choice of pizz and arco. depends on the texture - Do I want a richer sound to accompany the main melody? I often consider the sound quality before the playability issue. Nevertheless, the 16th notes are projected better in arco. For the double stops in m.58, they are playable using both A and D strings, with the last note played using the 4th finger to press both strings.

Whose birthday is it?

Jealousy : Is when you want someone to STOP what there doing Envy : is when you want to DO what there doing

This should be treated as a sister piece to event Horizon. If not, A continuation of the story . As much as I don't wanna expose myself, I feel like the story behind This is very integral to what you're gonna be hearing, especially with a bunch of source material from event horizon. Five lacrosse balls is a story built on many experiences where I felt like I have been living in a fever dream from foreseeing certain relationships into people and having a whole entire room build up with a ripple effect of the US anthem. I find pure solace on the fixation of a random tangible object something that will keep you grounded through all of life's troubles. Yes, in many ways like most of my other works to some degree is a personal narrative Five Lacrosse Balls.mp3 Five Lacrosse Balls.pdf

Hi! Long time for not posting anything! I'm revising my old Clarinet Quintet and learning orchestration in the process. Here's something I'm working on. Clarinet Quintet in C minor is a work I finished 4 years ago in 2022 which I accidentally began my revision of it in April 2026. It's a work in four movements and in it I want to share my feeling towards despair, dream and hope. The piece is dedicated to my friend Ms. Merina Fung. Speical Thanks to @Thatguy v2.0 for making the audio for me. Here is the youtube video of the movement: Here is the structure of the 1st movement: 00:00 1st subject, Exposition. Introduce the "despair" motive (0134), in some sort of sad waltz in C minor. The passage in 01:26 is directly copied from an old piece of mine named "Boredom" 01:48 Transition. Follow the tonal plan of the first movement of Tchaikovsky's Fourth Symphony and modulate to tritone major Gb major (which is the tonic key of my next major work, String Sextet in G flat major). 04:09 2nd subject, Exposition. Introduce the "dream motive" (0247) and subsidary chromatic motive of (0123). Conflicts of the despair and dream motives continue, the dream seems to win at 06:53 with its own climax but easily defeated with a bold C minor half cadence right before the close of the exposition with a forceful perfect cadence in Gb. 08:42 Development, part 1. The dream breaks expectedly I really like the counterpoint in 08:59. Modulates to E minor for the transition theme, then build to a really beautiful climax in E major in 11:10 which I really love. Makes this movement sounds a bit less tragic. 11:36 Development, part 2. Another false serenity after the beautiful climax by a disappointed passage in G# minor in 12:38. The serene texture returns in B major in 13:17 but falls short to a dominant preparation of C minor in 13:50. I really love the retransition as it sounds really passionate to me (Actually I love all parts of the remianing parts in this movement after this point). A review of the keys visited in 14:27 with an octatonic falling scale, ending with two sorrowful monologue of clarinet and cello, just like the beginning. 14:53 Transition. I skip the 1st subject reappearence in the recap as it's completely meaningless to do so, given how the motive is developed in the entire movement. I really love the tragedy here, as I even have this passage reappears in the coda of 4th movement, after 40 minutes or so lol. Another false serenity in tonic major in 15:24, and I really love the nostalgic sounding passage in Ab major in 16:01, still base on the dream motive. The German sixth chord in 16:36 must be stolen from Schubert"s Quartettsatz. A fugato in 16:42 trying to fight despair and reclaim dream once more and "sucessfully" modulates to Gb major once again. 17:31 2nd subject, Recap. But when you want more you hurt more, as despair harms you more when you have hope. This time a hard C minor half cadence comes. The dream theme now becomes a nightmare in 18:07 and continues to sigh. 19:20 Coda. Previous themes keep reappearing as I myself used to ruminate my sadness all the time. Finally it ends with what begins the piece, the realization of despair in its original form. Structurally I am not really satisfied with how I expand the themes in the 2nd subject of exposition (Dream part) and how I treat the materials in development, as I am afraid I overextend too much. However I just retain most of the things originally as I wanna keep true to my old self. It's an absolute low when I composed this piece, as I really questioned myself whether I could really compose something good back then. Luckily I did finish the entire work and gave me some confidence, plus meeting some really good friends here. The whole 4 movement piece is composed with three motives mentioned above, as I wanted to keep the piece coherent. The inspiration of the work comes from Brahms’s Clarinet Quintet as I wanted to write a more tragic piece than his (of course this goal fails), but I am happy with what I’ve done. Strangely only now do I find how Brahmsian this piece is. One interesting thing is that despite the movement is in C minor, in the first 14 minutes (two-thirds) of the movement, only 2 minutes are in the tonic. In this revision I mainly modify spots I find unreasonble, some voicings and slurs, and breathing spots for Clarinet. Hope you listen through the music and read through the description, and my wish that enjoy the work! Feel free criticize the work as I know it's far from perfect. P.S. the old version of this same Quintet is posted before: It's my biggest mistake to post an hour long piece here as my first post. So I will chop up the 4 movements and post it one by one now! Henry Clarinet Quintet in C minor 1st mov V3.mp3 (For YT)Clarinet Quintet in C minor 1st mov final 20260501.pdf

Hello my dear friends. Here my latest binary Sonata no 24. I hope you like it.

Hello No. My intention from the start was to help review the entries, not to submit one myself. Best regards.

Hello everyone, It's been a few months since I wrote anything. My last cycle on Laforgues poems had left me a little dry! But this poet has not said his last word and continues to haunt me. So here is a new piece, black, full of soot... Note, you can activate the subtitle in English. Good listening. https://youtu.be/jXMz3lu6Jfk?si=tYOpdEBtnVSJVlfe

Hey Pabio @Fugax Contrapunctus ! I thoroughly enjoy this one! I love your Die Kunst der Fuge like treatment of the canon themes when you keep adding complexity to the piece progressively. I don't calculate the counterpoint you use at all but only enjoy it without thinking. It's sad that Gerubach passed away this early. His contribution is significant since he may be the first one to post score videos on youtube which lots of people follow his tracks later on. Henry

I wrote another Romance for my girlfriend Julia's birthday. I hope you enjoy and let me know what you think! Romance No. 2.mp3 Romance No. 2.pdf

Just a simple piano romance for my girlfriend Julia (for her birthday). Thanks for listening and I hope you enjoy and let me know what you think! A Romance.mp3 A Romance.pdf

@therealAJGS One question, do you have an intended title for this piece? We can change the title so it better represents the music.

Good day, I had a listen to your work. It would really help providing info on your inspiration, intentions etc. Evidently - at least from the title - this is program music. What is everlasting Hegemony? Regarding the music itself, it is of a medium that I do not understand and as such I am in no position to judge its quality. That said, from the perspective of my personal medium (tonal music/common practice) I struggle to hear anything memorable. The music sounds like a continuous mass of crunchy chords without much pause at all or distant melody. This is a problem for me at least. I prefer art with clarity and a relatable structure.

oh yeah, thats a little better lol