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Hello! Here's a funeral march type piece. Form and harmony are very static and simple, in Fm with an A | A1 | A2 form. Hope you enjoy, and as always, any comments are welcome 🙂

Although I hold that AI music is still technically music, however unethically created it is, AI music is certainly not composed. It's more so generated, and this site is arguably about the composition of music, not the music itself (although, it seems that many users haven't grasped this). For that reason, my mind is most open to being changed on Question 2. Currently, I've selected the second option—creating a sub-forum and barring AI submissions to be entered into competitions—but if someone was to push hard for banning all AI music on account of it being against the spirit of being a composer, then it's not like I'm gonna push back too hard. However, I'm sympathetic to the idea that AI is here and will be here for a while, if not permanently, so banning it outright feels a little close-minded when there's still things to be learned from it (more socially and economically than practically), just not strictly composition. I'm seeing a lot of exceptions being made for vocals/SFX creation after something has been written and making rules that are clear and foolproof to distinguish that is going to be hell, but I think it's better to have the word of another person as to the extent AI was used rather than just trying to use an AI checker or a filter. As pointed out before, those things are really murky and spotty. I don't really care about the “emotions” behind it, because—let's be real—tons of music gets written for a paycheck with no emotion or humanity. That's not a measurable quality, as far as I'm concerned. I also don't really care about the amount of effort or time put into a piece; some things are just easier for different people. As for feedback, have you seen Google AI? It could tell me the sky is blue and I'd look out my window to go check. No way in hell is that level of intelligence going to have reasonable critiques beyond just telling me what Roman numerals are being used, which isn't analysis in the first place.

Hello, I recently finished a piece, Introduction and Waltz, and am wondering if the score is MOLA ready. I'm submitting to a competition thats due on the 10th (parts are not required til a later date). Thanks a lot and feel free to also listen and give feedback!

Here's the thing, though: "AI", by itself, is pretty much meaningless. For decades, people have been using "AI" to refer to the programming controlling NPCs in video games, for instance. Sometimes, "AI" is used in a sense that covers any machine learning or neural network application. More recently, "AI" has caught on in the context of Large Language Models like ChatGPT that take a prompt as input and then use some minimization function over their corpus of training data to predict what the most likely response to that prompt would be. The broader class of software including LLMs and similar models that output images, sounds, etc., are called "generative AI". And because "AI" is such a hot topic now, anyone whose software product uses anything resembling a neural network is going to be sure to advertise it as "AI". In my opinion, it would be better to use more precise language and, when we mean LLMs, say "LLMs". But I suppose that ship has sailed. In any event, clearly what is under discussion here is whether music composed by a generative, LLM-like software should be permissible here - and as I've said, I don't think it should be, since this is a composition forum and there's no sense in posting a piece of music you didn't compose. But by the same token, if you composed the music, then of course you should be permitted to post it, regardless of whether you used tools that are advertised as "AI" to produce the audio mock-up of the music you composed.

I’m kind of on the mix opinion here for me AI music seems very dishonest and rather very silly in its own part. It should have no place competing against real human work however, though I am completely foreign, even encouraging the use of some AI music software’s. (stuff like cantai.) that allows for the performance of a human work to be perfected. Thing number one: I definitely feel like that a performance using AI is not as bad again this is not regarding about the performance of music. This is a regarding about people’s compositions. Thing number two: it should be unfair to have AI as a wild thing in competitions. Sure they could be in an events. Events are perfect for AI as that nobody is competing against anybody, however, though I feel like top priority should be given to real people’s human works first AI could wait. Competition competitions and AI do not mix unless if you have a AI only competition My final thing to say though is, I am very mixed about having a AI only sub if we do have one sure I wouldn’t mind as much and it’s not a huge problem but again you’re not composing music at least there should be someplace for AI music here and to have at least a very strong filter that can be unable to get rid of it for those who do not want any part of it things to go against AI is definitely some anti-AI software to tell if someone is using it for ill intent. At least some knowledge of a piece of music can work as proof and even if it’s a short thing, then at most a score to accompany with it. Honestly for contests score in audio should be mandatory unless if stated otherwise. Thank you.

I got my piece to play for today 😁

Exactly. Completely agreed. It wouldn't be appropriate to post, say, a Haydn string quartet in the "share your work" forums, because it's not your work. In exactly the same sense, it doesn't make any sense to me for someone to post an AI-composed piece here, because it's not the poster's work. What would be the point? Best case, you fool people into thinking it's your own work. What then? People give you feedback, assuming you wrote the piece, and that feedback is totally useless to you since you didn't, in fact, write the piece. I suppose maybe somebody will say, "Good job," to you, and OK, congratulations, you tricked someone into praising you. (Though, I must say, to date, I still have not heard an AI-composed piece of music that I thought was anything better than mediocre). This is exactly what I can't understand. What would anyone expect in response to a piece of AI-generated music? Sure, I could pretend that a human actually wrote it and write a critique of it based on that fiction, but I can't imagine why I would ever do that, nor can I imagine what use that would be to the person who posted it.

@chopin Glad you liked it! Yeah, the whispers of the old theme coming back was a really captivating idea for me, but the best part is that I'm sure another talented analyst could analyze it in a completely different way than I did! @Luis Hernández Thank you! @Thatguy v2.0 Nonsense, the fact that you're able to even listen to it—let alone enjoy it—means that you're worth your salt! And yes, it's why I have so much solo cello rep... I can actually play it. 🙂 @Wieland Handke Thank you so much, that's a great image! And wonderfully wholesome for something that be construed as being so eerie. My respects and humble thanks to all of you!

Updated the mp3 with Henry's performance. If anyone's interested, he didn't listen to the mp3 render first 😄 Henry = 🔥

I think we are discussing more on the authorship when a composer is REALLY the one who composes the work themselves. As long as the AI doesn't interfere with the composing process it should be allowed, so AI programs like Cantai or Note Performer are no problem at all. Henry

Since this is a composition form, it is difficult to have to have live performances, I will ask this: What are your thoughts regarding Note Performer? @PeterthePapercomPoser @Aiwendil Here are mine: NP has it owns instruments that are used in playback in notation play back. Thus, this is similar to how VST library operates: each library is. They have they own instruments. It cannot replace DAW and those VST. When it comes to mock-ups, composers usually work with in daw. But they could use NP, too. The studio string orchestra that performed my piece was sent a midi mock up with score and parts. I.e. I am fine with a midi mock-up with score and parts (either from daw or using NP). But I am not fine with something like Suno. That is not mock up! I hope this helps

Right because by that reasoning .. if I were to use a VST plugin with AI assisted vibrato modeling or some such thing, it wouldn't be permissible to post.

(Verse 1) Welcome to the playground, where the rules are all a lie You say you want a show, but you can’t look me in the eye Fists behind your lipstick, whispers in the hall You want me to be quiet, but I’m breaking down the wall (Pre-Chorus) You dress me up in sugar, but I’m made of something rough You want a perfect puppet, but I’m calling out your bluff (Chorus) I don’t wanna play in your fight club, Don’t wanna bruise for your fake love You want a winner you can pick and choose But I’m not here for you to use I don’t wanna bleed in your fight club, Don’t wanna break for your fake hug You want a trophy you can push around But you’ll never knock me down (Verse 2) Broken crown and knuckles, you love a bloody scene Cheering for the chaos while you’re hiding in between You want a pretty fighter, but I bite back twice as hard I’m not your little secret, I’m your battle-scarred (Pre-Chorus) You paint me with your rumors, but I’m coloring outside You want me by your side, but only if I hide (Chorus) I don’t wanna play in your fight club, Don’t wanna bruise for your fake love You want a winner you can pick and choose But I’m not here for you to use I don’t wanna bleed in your fight club, Don’t wanna break for your fake hug You want a trophy you can push around But you’ll never knock me down (Bridge) You want a show, you want a scream But I’m the fire in your dream Not your game, not your pawn I’m the war you can’t move on (Chorus) I don’t wanna play in your fight club, Don’t wanna bruise for your fake love You want a winner you can pick and choose But I’m not here for you to use I don’t wanna bleed in your fight club, Don’t wanna break for your fake hug You want a trophy you can push around But you’ll never knock me down (Outro) So ring the bell, let the punches fly I’ll still be standing, don’t need to try I don’t wanna play in your fight club But I’ll survive your fight club.

😁

This looks quite useful and interesting! I have to admit, I don't pay special emphasis on musical engraving at all because I never consider an essential part of composing at all. Henry

I also must admit that I’ve never read or heard about those two books. However, score engraving is an interesting topic for me and I take a lot of care to produce satisfying scores for my compositions. Therefore, that „debate“ should be something for me, too. The only „literature“ I’ve actually read about the art of music score engraving is the „Lilypond Essay“ which I’ve linked here. Even if I run the risk of @Henry Ng Tsz Kiu is thinking that I am a Lilypond lobbyist or salesman (😆, I must think on the „rodeo“ between Henry and @SeekJohn14v6 ...), I am just a Lilypond user, and I’m glad with this notation software for two reasons. First, the approach of writing „source code“ and „compiling“ it into a score and a MIDI-file is the right one for me, since in my everyday work I'm familiar with writing tons of lines of source code rather than using a WYSIWYG-interface. The other, and possibly more important fact is, that the resulting engravings are much more satisfying and similar to old-fashioned hand engravings than the most of the other notation software solutions are currently able to produce. So I had a small look again at the above cited „Lilypond Essay“ and, interestingly, the two books you mentioned can be found prominently in the „(Short) Literature List“. I looked around, if I could find some PDFs, excerpts etc. on the internet – and indeed I found some, so that I can take a view on that books to be able to participate in the „debate“ soon. Thanks for the suggestion!

Based on ruminations ("the action or process of thinking deeply about something") on "contingent ephmeral art" and the absurdity of the mundane. Liner note (also on last page): Ruminations for String Quartet in G, Jan 2026..mp3 All thoughts welcome! Every little piece of attention feeds my ego-

Among all the other previously published canons of its type, this one might as well have turned out to be the most demanding to perform, in no small part due to the choir's conventional maximum ranges being reached in at least three voices, including both soprano (C6) and bass (E2), making it no small feat to sing. The main lyrics would roughly translate from Latin to English as follows: "In the direst of circumstances the true heart of men shall sing with great hope of leaving behind a memorable life. Even death can conquer those whose memory lies in the glory of their good deeds." The coda, as per usual, reinforces the core message in a variety of ways. YouTube video link:

Hello there Pyry, I appreciate your comment and I like that you are giving your opinion in such a peaceful way, unfortunately the score for this composition as for some others is lost and as it is finished I didn't have a reason to make it again and it is not an easy thing to do actually, I had kind of the same opinion from one friend that I had who plays the piano and composes also, and I will agree with you at some point as I did with him and with myself, I hate my music more than anyone but I also like my music more than anyone and I'm listening to it like a drug addict and I always want more from me so I know exactly what are you talking about and thank you for mentioning it with honesty. Best wishes from Greece, Demertzis

Hi @ComposedBySam! Really like your poem, piece and singing! I like the occasional short imitations between parts like in b.9 or b.17 which strengthen the chasing theme. I really like the "dismantle this church that bows before strife" lyrics when you really dismantle by getting up an octave and ends on a high register, and then a half cadence which is resolve sacarstically to A minor. Wonderful job here. And also the "sacrificed in vain" lyrics when the voice ends in confusion with diminished 7th chords and the voice breaks off! The F minor modulation in b.47 is wonderful when it's matched with "grave" in the poem! A wonderful lied in my opinion. I think you should definitely make more lieder out of your poem, instead of having a strophic setting, because your through composed technique is wonderful and well matched with your lyrics! Thx for sharing! Henry

Congratulations for this enjoyable and galant short sonata! It is nice to see such an easy and playable piece which comprises compositional skills to let it sound in the mood of the late Baroque era. Allegro An easy to play but clearly structured sonata form movement! I especially liked the phrases with the syncopated, perhaps staccato eighth notes in the second theme in bars 17-18 and 21-22. To make this second theme even more colorful and to avoid the tendency of repetition, I would try to vary bars 13, 15, 19 and 23 slightly, for example by introducing more counter-movement between the voices, at least in some of the repetitions. Might be that the finale could be made a little more elaborated, for example by creating two variants for the last few bars, so that in the repetition there could be some more ornamentation when reaching the final chord. Some aspects regarding the playability and “aesthetics” of the score. Measure 31 should be moved to the first page to avoid turning the page, which is only necessary for one measure here, and I would try to balance the distribution of measures between the staves so that the last staff does not appear so stretched out. Andante Serious, with slow rhythm, but also with a dancing character, perhaps an Allemande. I would avoid the octaves between bass and treble in bar 4, third beat and bar 5, first beat. Perhaps the bass could be in mm. 4-5 as | D E A Bb | F C# D F |. The same in bar 13, first beat (G instead D). Minuet The minuet is another superb example how an easy piece can be expressive and full of character. I love the articulation and ornamentation which unmistakably emphasize the dance-like character of the minuet. By the way, I think I have recognized some more or different ornamentations in the recording than in the score, for example in the repetition of bars 7 and 15 of the minuet and the repetition of bars 4 and 6 of the trio. Is it a live recording or, if not, did you have to realize all that ornamentations in your notation software „by hand“ to achieve that realistic effect and the distinction between the different occurrences of the section due to the repetitions? I ask this because I do the same thing when writing a score, having a „print“ score and a „midi“ score achieved through „if-else“s in the same Lilypond source code. (Yes, I have seen in your profile that you are one of the few composers who also use Lilypond ...) Rondo At the end the fun, the fast rondo. Here, I would assume that this is not a live recording, which would bring to the piece the intended lightness and elegance with more soulful phrasing - that the composition undoubtedly contains. When reading the score, I was initially somewhat confused because I could not see the upbeat note that introduces each next phrase. Therefore, I would divide the two eighth notes at the end of measures 4, 13, 17, 21, 25, 29, 33, 37, and 61 into separated ones that are not connected by a beam.

@Aiwendil Exactly. Those who favor AI do not want it monitor and regulated. But there was incident in holiday contest where someone used suno. Imagine Suno was used in real life. Then what?

Follow up: If there is sub-forum for AI, how will that impact the forum as a whole? How do you review entries with AI? See, this is dilemma we are facing. My position stands: We should regulate and monitor if users Suno. Ban it from competitions. And not have a separate sub form AI. If AI is abused, then ban it. If it is used in with other sub forums, @UncleRed99 idea is great. Industry standards should be allowed. As usually, provide a score (if there is one) and an audio file.

Hey, this is great and has a lot of potential; I hope you keep writing! Lots of very cool moments and bits like the way you harmonize the very first “Shew me thy ways, O Lord”; vii˚7/vi–vi? How cool is that, especially since it's a lot more harmonically standard the second time around. I'll mainly focus here on “Shew me...” since it's a little easier to parse the score quickly: 1. m. 5's two-beat long semitonal dissonance is already striking enough, but having the suspension resolve upwards is even more noticeable. Not a strict problem, per se; it's just maybe a little overly noticeable. 2. m. 7, V7 without the third except in an ornamental figure, approached by 4-5 motion in first species. 3. mm. 8–9, “Shew“ is three quarter notes for a one-syllable word. There's a couple other measures where you have one syllable sung on repeated notes. 4. m. 11, unnecessary whole rest break in V1. 5. mm. 14, 17 & 22, similar issue to Point 2. Also, unnecessary breaking of the quarter rest in vocalist's part in m. 14. 6. m. 26, “O Lord” breaks the more natural setting of the scansion you had in mm. 10–11. 7. Keep “teach” as one word spelled correctly (don't double the “e”). 8. I would add some bowings; some are great, like the one you have in m. 13 in V2, but take a little time to make sure that the most natural style (down bow at the beginning of the measure, especially with all of these quarter notes) is preserved unless marked otherwise. Of course, Points 2 and 4 can be fixed with a continuo part with figures; I heard it in the background, but it just seemed to double the celli and bassi. Again, it's exciting to see where this could go! Solid start!

“I’m beginning to write a small oratorio, Everywhere there’s notes! Take a look at the fifths and tenths, some intervals are immense, At half past three my laptop screen’s aglow!”

Thank you for sharing this wonderful Prelude-and-Fugue piece. Since I also compose preludes and fugues, I am very excited and interested in reviewing such a pair. And indeed, I really enjoyed it and have now a few thoughts or comments which are not to be considered as „criticism“, but rather intended as an advice or idea how this beautiful piece could be improved further and finally made „great“: When listening to the prelude for the first time, I clearly recognized the Baroque style of a French overture with its double dots and 32nd runs, but there were something stylistic that differed from a typical Baroque and counterpuntual piece. Now, after listening multiple times and with the help of the other comments, I figured out that this is due to the repetition of measures 1-14 in bars 15-27, which means that up to this point there is no real modulation away from the tonic G minor. There is nothing wrong with it, but I would agree with the suggestions of @muchen_ and @Willibald to possibly change something concerning the modulation and recurrection of the material, also with respect that usually the prelude is not longer than its fugue. The fugue subject is very memorable and expressive, I especially love the „wedge-like“ ending in mm. 68, which, in my opinion, implies that the theme should not end with the first eighth note in bar 68, but should extend over the entire four bars. In the comes in bar 72, you have already quoted the “wedge,” even though this bar is a variation of the original, while in the third entry in bar 76, the “wedge” is completely lost, which I regret. In measures 80-85, 87-95, and 96-103, you have created three (or even four) sections with sequences based on different contrapuntal material—for example, quotations or parts of the theme—which would be perfect as interludes or episodes between further development (or exposition) sections of the fugue theme. And that is exactly what I would like to see: at least two further developments of the excellent fugue subject. I also could imagine a coda with a pedal point and perhaps a recurrection of the 32nd notes texture from the prelude as ending climax! With this in mind – to shorten the prelude and to extend or „complete“ the fugue – your piece could become a marvellous pair – Prelude and Fugue in G minor!

This is a rather short and concise exercise in writing a sonata for cembalo that is playable even for me. It started with a minuet I wrote for a wedding; some improvising on the piano generated the idea for the allegro, and then only a slow movement was missing to have a three movement sonata, a basic structure popular in the 18th century. The allegro flows happily in 6/8, composed in sonata form; the reprise is slightly shortened so it is not too tedious, but also to have a balanced feel (Exposition: 32 bars; development + reprise 36 bars). The andante (binary form) provides some contrast by starting out in d minor, modulating to a minor and going back via g minor and F Major to d minor. The concluding minuet returns to more joyful music with a lively dialogue of left and right hand. I am considering adding a fast rondo, or composing another sonata concluding with a rondo; not sure about that.

Happy New Year to all! For my first post of 2026, here's my orchestration of Medelssohn's Barcarolle from Songs Without Words. It's more or less done; though I may add more dynamics to match the original piano work, and need to add more slurs. Current dynamics are intended for midi playback: so I will be adjusting those for real life performance. Haven't decided where to mark a2 and solo in the winds: so any tips on that would be really helpful.

Hi guys! Hope you're all doing well. So, I wrote a poem two months back, and whilst I did, I also made a melody out of it just because lol. So, I thought it had the potential to become an art song, so I composed it. By the way, this song just contains the first stanza of my poem. Do you think I should make more songs for each stanza to do like a song cycle or something? Anyways, I sang this myself because I find vocal soundfonts to be... nauseating. Anyways, I am no singer, so try not to roast me too much for my voice lol. Do tell me how you like it, or if you have any suggestions.

Last year, I came across Sara Teasdale's poetry and a lot of what she wrote about on love, beauty, fear, even death resonated with me. What really peaked my interest was her poetry book of love songs where she expresses her ideas and beliefs about what it means to be loved and to love. "Child, Child" is a heartfelt ballad set in the key of D-major with many legato phrases. The opening theme is the driving point that follows the piece through the beginning, middle and end and changes meaning through each repetition. I use it to tell this story of romance sweeping us off our feet in ways that feel enchanting, and breaking us down when we least expect it. Yet, through it, we still find the courage to love and start anew time and time again. Love--be it heaven or hell--is to hold dear and to cherish. After a pretty rough time last year emotionally, Teasdale's poetry gave words to my feelings and inspired me to write. I hope this piece resonates with you as well. Please enjoy <3. Also Happy New Year!!! Text: Child, child, love while you can The voice and the eyes and the soul of a man; Never fear though it break your heart -- Out of the wound new joy will start; Only love proudly and gladly and well, Though love be heaven or love be hell. Child, child, love while you may, For life is short as a happy day; Never fear the thing you feel -- Only by love is life made real; Love, for the deadly sins are seven, Only through love will you enter heaven.

This piece is called "Fortitude" for the fact I've developed an amount of it through my years on this planet (or should I call it an 'insane asylum' flying through space). I've been away from YC for a long time - several life changes, medical, and financial issues. The '173' refers to the version of it. It's not really meant to be in the title. I continue to use a large palette of sounds. I use several Virtual Instruments, plus some sounds from sample libraries, and even more exciting 'physical modeling'. The footprint for these sounds is minuscule. Using a Mac Studio 2024 and Logic Pro 11.2.2.

Hi! This is the third movement of a song cycle that I wrote from January to April of last year (2025). Each of the five movements is a setting of a different poem by Sara Teasdale, and together create a suite of nocturnes. This is my personal favorite of the set, if there is some interest I may upload some of the others, as there are strong connections between each of the movements. This song is in a three part form, where the second and third parts develop material initially heard in the first. In this piece, the primary material being developed is the piano ostinato heard right at the beginning. Please let me know what you think!

Never use or heard of these 2 books so no debate lol!

You have a very sweet voice, and it was very fun seeing the way you had labeled sections of your piano part to get a bit of insight into how you think as you write. I do the same thing on my scores while they are in progress. Lots of little notes to self in the margins about what might come next, or other possibilities if I decide I don't like the current one. The most obvious way to shrink the range would be some key changes for either the highest or lowest vocal sections. You are writing in a style where that would fit in very smoothly.

This is truly a STUNNING piece of work. There are many spectacular passages. You very adeptly allot enough time for each segment to Blossom. I am not trained in classical music (more pop, now easy listening), and I know classical music has a much wider dynamic range. There are a few sections on my system where I hear distortion. Even though levels are far within safe ranges, mixing something this complex is truly a challenge. I find that after I have set volumes, I go back to do some adjustments to individual instruments and groups of instruments. It certainly gives me a new respect for conductors. I might suggest going through the piece and each section, and shrinking the dynamic range by maybe 10 - 20% if that makes sense to you. I would search out the softest and loudest passages, and notice the db range. Another possible area is change lengths of different movements. Once you have clearly made your point, move on. Again, these are things I notice, and may not apply to you or other composers/listeners. I look at a long piece as a journey through a beautiful English garden. You might have a lot of one particular flower, and then a more exotic plant may be only one flower. You want to employ the yin/yang of things. consonance/disonance - bright/dark - soft/loud. Volume and tonal color changes of an instrument are the equivalent of brightening the spotlight on a certain instrument or motif you want to draw attention to. Employing these and other techniques creates a living, breathing entity that has plenty of variety. The sound palette you use can vary widely - or, in your case, create a consistency that keeps the 'wholeness' of the work stable Again, I cannot overemphasize what a beautiful thing you have accomplished. Keep up the brilliant work. Mark Styles

Did you get the joke? Your title reminded me of “It’s beginning to look a lot like Christmas,” so I wrote a small parody.

Thank you all for your feedback. I have nothing to disagree with, and I will certainly put the tips into practice if I ever rework on the piece.

Hi @Willibald! I just check out the 4th movement and it’s a lively nice rondo, I like your B minor episode inviting some contrast. Thx for your update! Henry

Hi @Cafebabe, I like the recurring March like turn figure in your prelude, it reminds of the D major fugue in WTC I. For the fugue, nice Dido and Aeneas like subject. If you are writing in Baroque style, usually the 3rd entry of the subject (in b.73) will be in tonic G minor instead of dominant D minor. I agree with @Willibald that there can be more appearances of the fugue subject, and to me especially there should be more appearances of the subject in the tonic G minor! Good counterpoint throughout though. Thx for sharing! Henry

Hi @Kvothe! The waltz is fine and I think you can add a contrasting section to it, probably in a major key or something. Also the false relation in b.12 sounds a bit harsh in this context to me. Thx for sharing! Henry

Thanks for sharing this prelude and fugue, both of them a joy to listen to. The beginning of the prelude is especially very charming. However, the passage in m. 12 and 13 (and similar ones) with those notes of different length tied to semidemiquavers in both hands running in parallel seems difficult to play, especially to get the timing right, but I am a rather bad pianist. After the cadence in m. 14/15, the verbatim repetition in m. 15-27 is not that unusual, but would have been easier to notate with a repeat sign. The following passage brings finally the modulation everyone is waiting for (you could try and modulate already in the first part of the prelude; it increases momentum as the prelude then has to find a way back) 😉 , and with it some harsh harmonies which you handle tastefully. At the end, for a short moment it sounds like the opening phrase would come back in d minor, but in a clever move, we are disappointed; the return of g minor is, however, a bit too surprising for my taste; a e.g. "motivo di cadenza" or a similar adapted cadence could be used to flesh this more out. The fugue has a good and versatile subject and I just identified three full instances of the subject (m. 65, m. 69, m. 73) and two partial ones (m. 77, m. 93); it would have been nice to have fewer instances of the sequences and more instances of the subject. But of course this is a well composed fugue, so this is more a matter of one's preferences.

Thanks, @Henry Ng Tsz Kiu, for your kind words. I took up your suggestion and tried to compose a fitting end for this set. So without further ado: a draft for a fast-paced 2/4-Presto with the basic structure |: A :| b1 b2 b3 |: A : |: c1 : | c2 |: A :| The audio file needs some polishing. Any comments welcome.

I'm always a fan of the minor and the modal, and agree with the rest of the room that the surprise C# is a particularly nice moment! If I had one wish, I think it would be nice to play around with something every so slightly different in the left hand the third time through bar one and two instead of doing an exact repeat of that material. We've gone on such a journey by that point, that to evolve, just by a note or two so the listener wonders what has changed, might be interesting to play with. This is really wonderful, and Henry's playing is very tender with excellent phrasing and use of rubato. Bravo to you both!

Hi @Willibald! I like the jovial mood for the 1st and 3rd mov minuets. Maybe you can end the Sonata with a Rondeau? Henry

This is really lovely. I don't have time to analyze the score in depth, but as others have noted, it sounds very clear and smooth for eight-part counterpoint. I'm sure that if I tried to write pure counterpoint like this for eight voices, I'd find them getting in each other's way constantly and I'd end up with a thicker, muddier sound.

Thanks to all 20 participants who submitted a whopping total of 26 submissions to the 2025 Christmas Music Event! They will be the recipients of the "2025 Christmas Participant" award! - A Christmas Mash-up by @PeterthePapercomPoser Jesus was Born this Day by @Vonias Another Christmas Mash-up by @PeterthePapercomPoser My submission to the 2025 Christmas event!!!!!!!!!!!!!!!!!! by @therealAJGS Song for the Fallen (2025 Christmas Music Event Submission) by @Musicman_3254 Submission to the 2025 Christmas Music Event by @TristanTheTristan March of the Gingerbread People (2025 Christmas Event Submission) by @Crescent Roulade Fugue on "We wish you a Merry Christmas" (2017) by @J. Lee Graham Motet a 8 "O Magnum Mysterium" in E-flat Major by @Fugax Contrapunctus fantasia on jingle bells (2025 Christmas Event Submission) by @Monarcheon March of the Snowflakes - 2025 Christmas Event Submission by @Vavrinec O Soul, Seek Revelation 14:9-11 by @SeekJohn14v6 (Very Casual) Christmas Mesh Up by @HoYin Cheung The Empty Church - Submission to the YCF 2025 Christmas Event by @Wieland Handke Highland Shepherds - Submission to the YCF 2025 Christmas Event by @Wieland Handke Jingle Bells and Dashing Through the Snow by @chopin Christmas Carol by @Aiwendil Instead of Christmas (Submission to 2025 Christmas Event) by @Luis Hernández Coventry Carol (Christmas 2025) by @mercurypickles With Every Beat My Heart Knows by @HoYin Cheung A Christmas Scherzo by @PeterthePapercomPoser I composed a Christmas Song! - It went great! by @raymond doerr My Christmas Submission by @Mooravioli Christmas Mash-up No.3 by @PeterthePapercomPoser Glory to God by @SeekJohn14v6 Nutcracker inspired final by @Tunndy And thanks to all the reviewers who ardently and painstakingly reviewed all the entries to the event! (the AI generated ones aren't required): @chopin, @Henry Ng Tsz Kiu, @Wieland Handke and @PeterthePapercomPoser. They will be the recipients of the "2025 Christmas Reviewer" Award! - (Note that if people still want to review all the submissions after December 31st, they are free to do so and be added to the list of "2025 Christmas Reviewer" Award recipients ex post facto. Check how many more reviews you need to make before getting the badge in the 2025 Christmas Music Event Reviews Spreadsheet. If you're not on the list yet I will add you once you review a more substantial number of pieces.) And thanks to @PeterthePapercomPoser for the event announcement thread, managing new submissions, creating the Christmas calendar event, advertising the event in various discord servers as well as making this conclusion thread! He will receive the "2025 Christmas Organizer" Award! - And we all hope that you had a Merry Christmas and that your 2026 year will be great!!! To see the 2025 Christmas Music Event announcement thread go here:

In the light of Suno usage on this forum, I found this video: Suno warning

R# Major