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Alex, A lovely orchestration, though, I have some questions in the selection of the English Horn; especially in the lower register ... the actual projection may be more covered in the ensemble. Mark

Hello Everyone! I am here to share my newest work titled "Dear October...". Commissioned by my sister for the use in her wedding, this short work is has become a personal favorite. It had to be short for timing use during the ceremony, however, I find myself bleeding to write more. This said, if you want to find out more about the work, go to page 3 and read the "About" section. Thanks for taking the time to read this post, view my score and take a listen! (If you have any comments, both good and constructive, drop them in the comments!) [July, 2026 - Updated Score PDF] Chmbr- DearOctober.mp3 Chmbr- DearOctober.pdf

I'm so glad that I was given access to this score as it progressed, via DMs. Oh how much it has changed since you presented it to me, and in so little time! There was One point of contention that I had about this that I wasn't able to flesh out to you, when I heard it. And it's not that it's anything incorrect or bad per-say, just something that no matter how many times I listened back to it, it just never sounded right to me.. lol if you'll refer to b.26-27, where you chromatically move the harmony and chord progression down, and in b.27, the last 2 beats are on 1 (A maj.)... Something about the transition between Fdim/G# to (I think this is G#m7/F#?) just feels jarring, to me, and comparing those two chords to the rest of the piece, I feel, personally, that it stands out in a not-so-smooth kind of way.. So, below, I have written out a version that I think would help it, in my opinion, to sound less jarring and more smooth, without changing anything too drastically, and have also attached an MP3 for sound reference. (for the ease of comparison, this moment happens at about 1:28 in the original audio above). Untitled score.mp3 In my example, I've, instead of going to the chord you'd written, I just pivoted Fdim/G# > G#dim > A Maj > E Maj G#dim being the only change applied, here, along with a change in the viola's harmony. Overall though, I LOVE this score, and what story that you were telling with this one. It really hit me in the chesticle, in a great and relatable way. Had me over here reminiscing over things in my past, and longing for what I no longer possess.. Which, while that's saddening to me, it's what the essence of this whole music thing is about... creating art that is able to illicit that in someone is just an amazing thing, don't you think? -Unc

This is such a wonderful piece...I agree with the above comment about the length of the piece. It's the perfect length for the occasion - the piece itself feels like it's telling us a story, but it's just a beautiful beginning (again, perfect for the occasion). Your treatment of the strings and the way they interact with the piano taught me a lot. When you pass the melody, it's not jarring, but we'll thought out and smooth. I'm sure your sister and her fiance will love the piece. Bravo!! 👏🏾

Congratulations to your sister on her upcoming wedding!! She is sure to be so happy to have a sibling who can write such a wonderful piece of music for her. Above all, the fact that she asked you herself truly shows the deep trust between you two. This piece is lovely, and I can really feel how much thought and care went into creating it. Also, regarding the A-flat around 1:28, hearing that note appear within the overall diatonic harmony, and then watching it resolve, felt like it was telling a story. It was memorable. I think it’s wonderful how it emerges without being too jarring, maintaining the calm and gentle atmosphere of the piece. As for the length, I personally feel that this shortness has its own story, fitting beautifully for a wedding. Sometimes, a length where you feel inspired to add more, and the listeners wish they could hear just a little bit more, is right. Of course, that is just my personal opinion. It really is a beautiful piece of music. Best, Lithl.

Hi everyone, I recently completed a draft of a short symphonic poem, after a long period of writer's block and not writing anything. I haven't put all the finishing touches on my scores (divisi, part divisions, crescendos are all lowk messed up etc.), but I would really appreciate feedback/suggestions relating to development and harmony. I'd also appreciate knowing what images, if any, it conjures up for you as you listen to it (I'd like to figure out a more evocative title). Thank you for your time :D! Poem for Orchestra.mp3 Poem for Orchestra.pdf

Hi @Lithl , Thank you for your comment and the kind words! I agree that the piece does sound kinda cinematic and I love your story - I think you expressed it very well :D. I like the idea of a "journey" of sorts and I'll keep brainstorming for a better title.

Hi, A Ko, listening to it, I felt it sounded a lot like a movie soundtrack. It’s a piece with a strong sense of storytelling. I can’t express it very well, but I imagined a medieval warrior returning home from war. It might be cliché, though. Up until 3:30, they are taking a detour, passing through peaceful meadows and areas with somewhat mysterious trees. Around 2:45, there’s a sign that they are getting closer to home. Then at 3:10, their hometown finally comes into view from an open landscape, and shortly after, they return to the brick-paved streets of the medieval town with their comrades. At 3:32, the local townsfolk are incredibly overjoyed. At 3:52, the warrior spots their children and family among the crowd, and after that, the credits roll. I'm starting to confuse myself with what I'm saying... This kind of thing is difficult for me since I don't have synesthesia, so please just take it with a grain of salt as one person's perspective. On the other hand, I feel like a title with more movement would suit this piece better rather than just "Poem for orchestra", though words related to a "journey" might be a bit too boring. Overall, I think this piece is going to turn out wonderful. Good luck with your piece! Best, Lithl.

Hi to all, Just wanted to post my latest orchestration attempt. It's the prelude from Cesar Franck's "Prelude, Fugue and Variation" (Op. 18). This is a rough draft for midi rendition: so I haven't added slurs, etc... Not sure about my brass passage in Bars 26-32? Perhaps I should stick with woodwind and strings? I wonder if I should attempt the fugue and variation too? Though they would be more challenging. Anyway let me know what you think? Franck - Prelude in C minor (orchestration) #8 (mid).mp3 Franck - Prelude in C minor (orchestration) #9 (score).pdf

Hi all, Here's short lament I composed for solo Oboe .... when some notes during my warm up tweaked my interest. As always comments always appreciated. Mark (Oboe is computer generated...although I have played it 😉) Oboe Lament6-30-26.mp3 Oboe Lament6-30-26.pdf

It’s a beautiful piece and your version is fantastic. It’s restrained and balanced, without any superfluous filler that ultimately makes it sound muddy and indistinct. And it sounds absolutely lovely. You’ve done a great job of separating the different voices implicit in the keyboard version, and that voice leading accounts for a large part of the orchestration’s success. In my opinion. I think the brass section is good, as it’s handled delicately and adds that touch of colour. I also really like the English horn, though I do tend to hear it more in solo passages than in the ensemble because it has such a distinctive timbre. Orchestrating a fugue is a bit different; I did one recently (by Bach). And well, I think with these styles you have to be very faithful to the original and add very little (in terms of melody or harmonies). And keep the parts very well separated. In this case, there’s an added difficulty because, although it’s a Baroque-style fugue, it’s clearly Romantic, meaning that, as well as the horizontal voices, Franck allows himself to add chords and thicken the textures as he pleases. A challenge that can be very rewarding.

Hello dear Lithl, First of all, thank you so much for your wonderful words. They gave me a tremendous sense of satisfaction, and I’m incredibly happy that you felt the music the way you did and appreciated it so much. I’d be more than happy to tell you about the plugins I use. I don’t know if you’re familiar with Pianoteq 9, but in my opinion it’s the best piano plugin available. I use my iPad with GarageBand, where I load Pianoteq 9, and everything is connected to my Clavinova. By the way, my Clavinova is actually of pretty poor quality, but it’s good enough to let me do what I want. I simply record everything through GarageBand, which is completely free. For my needs, it’s the simplest and most effective solution. I think it’s an ideal setup for musicians who don’t have access to professional equipment.

Always happy to be apart of what you create. And Vice-Versa. :)

To have the ability to say what I desire in so few words is something I strive to do. To put into words my exact feelings of this work seems a little daunting. While made for my sister, I find myself feeling selfish as even I feel a romance within the music. My hope now, is that you and others feel the same sense of connection I do. Thanks for the comments Red, I thought the voice leading was fine, and I couldn’t exactly remember what I wrote seeing your new example on the first read through. So after some back and forth, I realized there was a voice leading issue with the viola as it lands on the wrong pitch and breaks the stepwise pattern in bar 27 (I believe). I’ll take your suggestions into consideration as I amend the viola mistake. Thanks again!

Hello Vasilis Michael. The quality of this piece is amazing. All of the progressions are really smooth as well. Incredible composing skills. I'm sorry I don't have any specific critiques to point out, but the piece is so dense for its length that I never got bored. By the way, what plugins are you using? I would love it if you could tell me. Best, Lithl.

I find the music very easy to listen to in this "Jazzy" work. It's quite charming and I do find quite lyrical too! The interplay among the instruments work quite well and tell a very interesting story. Have you had musicians play the work. It sounds (without a score) technically challenging. Mark

This is a piece that I consider to be special. I have spent weeks working on it bit by bit, making one decision after another. It is Prelude No. 10 from Debussy’s Second Book, entitled ‘Canope’. A canope is the vessel in which the remains of mummies were stored in ancient Egypt; these were sealed with small sculptures of Anubis’s head. The piano piece is spectacular, with harmonies that defy all logic within the tonal world. I’m providing the score in concert pitch and in transposed pitch. Canope.mp3 Canope concert pitch.pdf Canope transposed pitch.pdf Link to the piano original version:

This is an ambitious and challenging work. It reminds me of two pieces I saw workshopped earlier this year, as part of the LSO's Panufnik Scheme (at least in terms of complexity of the scoring). Not sure I can offer anything useful, since your scoring is far more advanced than mine! I did spot one or two issues in the engraving that you're probably already aware of. These were: A misspelling on Page 2 ('deturned' instead of 'detuned' in the Viola instructions). Awkward beaming alignment in Bar 35 of the celesta part (one of the noteheads seems to be floating away from the beam, and is missing a stalk). Misaligned brackets in Bars 31 and 32 of the Doublebass part. Bar 74 and elsewhere: not sure why you write Celest' instead of Celesta? Looks a bit odd. Musically I really enjoyed it, and liked how you used the extended techniques. These were not there just for the sake of it; but to create a useful effect within the narrative of the music. I had to look up some of your directions (like gioiosamente), as I'd never seen them before! Sorry I can't be of more help, Alex

I certainly appreciate you guys for taking the time to listen/read it over for a second / third time. I understand that gets a bit redundant, when it comes to reviewing others' works. So I wanted to make sure to express my gratitude :) -Unc

Thanks for listening! Yeah, I appreciate the point about monotony. For such a short piece (really just four phrases, played very slowly), I thought I could get by with just the one motif in the upper strings. I did consider inverting it for the fourth phrase, but it didn't seem to work as well that way. Also, thanks for the note about the Gorecki symphony; I wasn't familiar with it. I did have some of Shostakovich's political works in mind. Another idea I had banging around in my head was a parodistic minor-key version of "The Star-Spangled Banner" in the militaristic style of some of Shostakovich's symphonies, but that felt a little more blunt than what I wanted. Can't decide whether I like the rather sterile name "Semiquincentennial", though I can't really come up with anything better. I almost wanted to call it "America the Hideous and Beautiful", but that sounds kind of sophomorically pretentious.

Sorry for the delayed reply. I gave it a listen. It has gotten better. The progression doesn't feel boring at all, and it maintains a consistent, calm atmosphere. At the same time, combined with the repetition of the melody, it actually started playing in my head on its own while I was doing other things. Also, regarding the awkwardness at 3:22 that I mentioned last time (which is around 3:15 in this version), in this new version, instead of feeling like a disconnect from the overall vibe of the piece, it now feels like an interesting twist in the progression. Best, Lithl.

@Markus Boyd Thank you for the detailed reply and the kind words, and your voice-leading examples.

Unsure why this hasn't had much attention yet. There is a lot of music here to unpack after listening. You have some great ideas, particularly during those moments of counterpoint & dialogue between the parts. So, you have my respect! You say it is 'Haydnesque' but I beg to differ. The structure is particularly quirky. You have three movements but within each there are multiple distinct tempo changes with new ideas introduced and some of these new subsections are individually repeated. So the structure does not say "sonata form" to me. However there are some moments where classical oriented ideas dominate that definitely veer the Viennese school. Voice leading is generally good. But some areas could benefit from attention. Lets look at an example: Your choice of progression here is V-V7-I. Usually with a so-fa-mi descent at a cadence I would utilize a Ic-V7-I harmonisation. It isn't incorrect what you have done - it works - but the question I would put forward concerns the added value of choosing a V instead in this context, particularly if the prior measure also contains dominant harmony. In traditional voice leading many of the best solutions depend on optimum harmonic decisions. Against the so-far-mi descent, there is an opportunity for contrary motion in an outer part. Having the F#-G ascent in the bass offers a better contrast arguably than in the inner voice (presently in the alto). In addition, while perhaps defensible, the bass and alto in your realisation both ascend to a perfect consonance (the G). The alto would be better descending in thirds with the soprano (B-A-G) - effectively both in contrary motion with the bass - while the viola maintains oblique motion on the D throughout the progression. This way you also do not omit the 5th of V7 (A) that - while permissible - is preferred if there is a means to include it and does not undermine the underlying ascetics: Omitting the 5th of a chord generally occurs when ascetically optimum. For example, if the upper voice had a 1-7-1 pattern: Disclaimer: In no way am I implying you are "incorrect" in your decisions. I cannot speak on your behalf as composer; but just be aware that where other solutions exist, justifications may become necessary...

Wow, this sounds truly symphonic. I really liked it. To be honest, the whole business of bands is a bit of a mystery. Where I live, there are loads of them – they’re street bands… marching bands? What stands out here is that there are loads of clarinets. They’re bands designed to accompany parades and play ‘pasodoble’-style music and the like. I suppose there are lots of different set-ups.

I like what you have done here by essentially utilizing a well known (and somewhat cliched) sequence off the baroque period (Handel comes to mind) before demonstrating the range of tonal and chromatic possibilities with emerging romanticism. I admire your work. It at times feel they read too much as a technical exercise in counterpoint and voice leading. Your melodies need to sing! As Luis pointed out, the excessive use of arpeggios in the midi betray the experience. You could change the instruments to woodwind or strings to allow the suspensions to be sustained clearly, and utilize a quality sound set like the musescore library. You’re always on point with the technical delivery. But this doesn’t always guarantee that we ‘feel’ it. Just a suggestion ☺️ ps I’m Markus, nice to e meet!

Interesting stuff. I appreciate what you are trying to do with the key idea although to only have one single motif risks monotony, particularly when in a largely homophonic style. That said, monotony can be delivered ingeniously such as that first movement in 3rd symphony by Goreki, in which he embed essentially a dark and soulless motif that he sustains for well over 13 minutes, starting within the bass before consistent layering with the other instruments of the orchestra it above while rising steadily in pitch and dynamic intensity… before descending with largely the reverse. All of this is said to depict the machinations of nazi germany. Perhaps even the banality of evil. the key thing is that his motif seldom stops… it keeps going and going. Modulations are sparse, again perhaps to make it devoid of color. All of this is beautifully contrasted with a human voice emerges from those depths afterwards. This piece just came to mind because of the political connotations you’re striving for. Here it is

Hi again! I listened to this piece, and it is a challenging and great piece. I like it. It’s hard to explain, but to me, it sounded like an organ piece that doesn't actually sound like an organ piece. By that, I mean it feels so fluid and the notes feel so scattered that, in a very good way, it felt like listening to a piano piece. Is there a specific work you used as a reference? I don't know of any other music quite like this. I like your composing style. I will check out any other variations if you release them in the future. Thank you. P.S. Just a small suggestion, but if you could embed the YouTube link so people can listen to it right here without being redirected to YouTube, I think even more people would check it out!

Hi, thank you so much for listening to my composition, I really appreciate it! And I also appreciate that you took the time to check out my other works. As for plugins (VSTs), I usually tweak the very basic digital instruments available on MuseHub and try to get the most out of them 🙂

Hello, I listened to this piece, and to be honest, I really liked it. It’s a fun and captivating work to listen to. The structure has great dynamics, keeping it engaging throughout, you truly have wonderful composition skills. I also checked out your other works, and Five-minute pieces for violin and piano in particular is another fantastic piece, with music that flows like a river. Please continue to share your work in the future. I did notice a little bit of audio clipping at around 1:15 in this piece (Suite for clarinet, soprano saxophone and piano), but that doesn't really matter when compared to your composition. By the way, I would be really happy if you could tell me what plugins you are using. Thank you.

Thanks very much for your suggestions! I'm revising the score to make some of these fixes. The cello line is not really meant to be the main feature; I think of it more like a cantus firmus, and I prefer the familiar melody to be there more subtly. But I didn't write slurs into the cello part just to try to give it a little bit of detachment from the other parts. Not sure how well that works, but that was the idea. The two quarter rests in those measures you mention are because the a tempo comes only on the fourth beat of the measure. Thanks again!

I'v been revising this piece yet again. This time I focused on a more rewritten exposition like introduction that is connected to the material later and tried to make it more cohesive overall. Any feedback is welcome. Thanks in advance. War born draft 5 04-07-2026 - Flow 1.mp3 war born draft5 score.pdf

Hi, Bjarke. It's a really energetic piece. I feel a vibe close to Peter Bence. The flowing feel is good. However, I felt it's a bit cluttered. If you add more extreme dynamics to each section, it might resolve that issue and make it even better. I think the piece itself is good, though! Best, Lithl.

Thank you so much for the kind words Luis. When I heard this prelude, I thought it was crying out for an orchestration: so I couldn't resist making one! Will probably have a go at the fugue and variation some time; though at the moment I'm working on an orchestration of Rachmaninoff's Prelude in B minor (Op.32 No.10), which is proving quite challenging!

I was trying to stick to the pitches from the original piano work: so the bass line is too low for bassoon. I could've used double-basses; but felt like contrabassoon would blend better with the other woodwinds. Double-bass can stick out sometimes when it's not balanced by the other strings, and has a more abrasive sound than contrabassoon in my opinion. There aren't many other options available for that low register. The only ones I can think of are harp, piano and bass marimba.

A lovely, expressive little piece. It reminds me of those solo instrumental phrases that Messiaen would suddenly write into his works. I think it makes excellent use of the oboe’s most effective range, bringing out the expression in some of the high and low notes as well. As for the notation, well, it depends on how you look at it or interpret it. In my view, the piece is in D flat major. There are a few moments where it strays from the key (bars 12 and 13, and also 20 and 21) only to return immediately. There are indeed many passing or incidental notes. Even though a piece is for a solo instrument, the harmony is implicit (whether tonal or otherwise). It would be interesting to harmonise this.

I always noticed that the song "Wicked Child", which was the third level of the original Castlevania game would work perfectly with a swing rhythm instead. So I finally got around to making it swing.

Hey @BlackkBeethoven ! I listened to your most recent mp3 with the string quintet pdf above. Overall it's not bad. I'd say there isn't enough spotlighting on the material the listener should focus on vs. the background - everything is the same dynamic and there's no balance between melody and accompaniment. Also it often sounds like a chorale exercise - chorales are a good beginning way to learn harmony and chord functions but when used as a model for other compositions can tend to create a cookie-cutter, chord-by-chord approach to composition - there are so many other ways of arranging things! The melody can be in any voice. There could be more melodically meaningful counterpoint and cross pollination between voices. Approached from a motivic standpoint your melody is non-descript and proceeds along with a lack of intensity and purpose. Overall, the biggest strength and flaw at the same time is the focus on harmony. When writing good melodies there’s often a lot of repetition and variation and potential for reinterpretation in different harmonic contexts (while the melody notes stay the same or repeat). There’s also usually a sense of ebb and flow in terms of climax and denouement which I feel this lacks. What I mean when I say this is that your melody lacks the terseness of say a Beethoven sonata melody. Your melody is very pedestrian and there’s no sense of rising and falling, of breathing. It lacks definition and there's just a vague blob of sound proceeding along slowly and it's really hard for the listener to focus on anything and get anything out of it. Imo and when I work on melodies, I don't usually compose a piece based on the first melody I come up with but keep popping out melody after melody until I have something that I think is worth spending some more effort on to refine or complete. To me it seems you're 1) focused on harmony too much and 2) pick your melodies poorly/without good judgment and consideration. Those are my thoughts. Keep composing and trying and you will get better!

Update - This is the structure I'm aiming for A - B - A1 - C - (ending) A - is lilty and slightly energetic with lush harmony B - is a chorale, hymn-like section A1 - original material returns (melody), but it's reharmonized, and with a different rhythmic feel C - I'd like to attempt something more modern where I have a this rushing overlapping rhythmic lines (like everything happening at once) before we go into this big chorale finish with suspensions and the like. String Quintet No.2.pdf https://drive.google.com/file/d/1SGU8fq9dRSEkF3T4KUgSZGHTdR4RvFs_/view?usp=sharing I've been working on the piece and I have some notes: Pg 1 - melody here needs to be edited with my new additions. And my accompaniment is so SATB, it's not sophisticated string writing at all I want this section to feel lilty and more energetic than it does rn. Really lean into the meter (maybe up tempo to 64-68) So that when we switch to 6/4 we slow down and bask in these lovely chorale harmonies. Pg 2 same issues as above - m. 15, get this smoooooth so our transition is nice. Decrescendo and slow the tempo down slightly, maybe add a measure of rest Pg 3 & 4 I love this (note for everything, add bowing and more dynamics) Pg 4 & 5 - transition back to A (this is A1) needs to make sense. Put melody an ocatve higher for variety and rhythm needs to be 3, while melody is in 2 (hemiola affect) One thing I want to focus on is getting some more variety out of the sounds I'm getting from the strings. Different counter melodies (especially in A1), passing the melody, pizz., ponticello, sul tasto, etc. I have some ideas sketched on later pages that I hope to use to play with the rhythm and sound more. This could be nice 👇🏾 1234.pdf 👉🏾 This is the edited melody for A mp3.mp3

I would give it to the bassoon ... you may have to adjust the other lines. By the way - why the contrabassoon? The timbre to support the melody is not the same as a String Bass or bassoon in resonance. Mark

Thanks Mark! I just love the colour of the English horn: so try to use it as much as possible, Would you suggest I move these passages into the bassoon or bass clarinet?

Hello, friends! How are you doing? I am happy to present my latest composition to you. This one is more challenging to listen to, full of contrasts and wildness that are typical for me, even though I try to incorporate a certain system into my music, which may not be obvious at first listen. Thank you to everyone who decides to support me by listening, and I wish you every success in your creative endeavors!

I'm sorry there hasn't been more comments on this very ambitious project. The orchestration is quite overwhelming. I wonder if more could have been accomplished with less. When I listened to the work mostly straight through .... I was looking/listening for a central prominent integrative theme(s) to guide me.... Did I miss something here? Mark

Hello everyone! How are you? I would like to share my latest composition with you. This time, it is a variation on an old Czech hymn "Vstalť jest této chvíle". I’d really appreciate it if you gave it a listen. Thank you!

Hi Petr - When you paste the YouTube link directly into the message it should embed automatically.

I'd never written for concert band before, however, that's the only ensemble, aside from one performance, that I've ever rehearsed and performed a production within... So I am very familiar with how the instrumentation is utilized in concert band scores. This was inspired by some work from another collegue of mine, that with their permission, I was allowed to put my own "twist" on it, and it is very very far from it's original form... I suppose that makes it more original than arrangement, but ah. I can't take all the credit for it if I didn't conjure it up myself from scratch. It's very short, and I didn't really have any intent on developing it into a more lengthy, complete piece, despite my desire to do so... I think it's quite extravigant, triumphant and reminds me of a hopeful feeling. I suppose the idea is that it can be used, potentially as an opener piece for a band somewhere, somehow. lol Let me know what y'all think P.S. Yes, I know there are a couple of engraving errors, such as Dynamic marking placements for example. The score isn’t a polished and finished product, 100% as of right now. Just an FYI 😅 Thanks!! -Unc EDIT I had some different harmonic ideas... Post has been updated :) Untitled score123.pdfUntitled score123.mp3

yes! there are a large variety of ensemble choices available, which, in the context of concert bands, are largely comprised of wind instruments, almost exclusively, with a bigger emphasis on accompanying percussion instruments as well.

Hi @JorgeDavid, Below is my review of your waltz: Form: There are two district different sections that have their own character with the composition. The tonal centers and relations between is not common. I feel this would fit with in middle romantic period. I am not sure about the dramatic pause at the end of melodic phrase. It is rather sudden and jarring. It disrupts the natural flow of piece. Harmony and texture: There is a high sense of chromatism with in waltz. I wonder about how those harmonies are prepared and resolved correctly. The bass line fits with in the standard waltz type pattern in first section and breaks away in the middle section. Thematic material: A couple things to note: the ending of each melodic phrase with chromatic note seems unsettling. G-F#-A. While there is a sense of melodic sequence with each phrase, it is hard to detect the general structure (sentence, period, or hybrid). This was original piece and was truly creative. With in my musical taste, I like to hear more music like this. I.e. find a way to create a natural flow with each phrase. think about what I said about structure and form and how the works with the underlaying the harmony. Otherwise, you good start. Kvothe.

I like the sparse atmosphere, and I think you developed the material in a creative way on the 4th page, cranking up the dissonance a bit. This has an exotic flair to it. It's got a chill vibe, but a potent flavor. Cool! Thanks for sharing!

Hi Nd, welcome to the forums! Do you happen to have a score of this? Interesting choice of piano, by the way. I'm not particularly fond of the way it attacks the notes that are outside of the high register but that's a more a matter of taste than anything else I will likely say in this message. I found some nice moments of calm in your piece, such as the section starting at ~1:10, or the section that preludes the end. Some others, such as the accelerando + pedal and the passage preceding it (1:35 and on, more or less) were not really my thing, they seem forced and for me, not in a good way. Question: did you publish the No.3, No.2 or No.1 here? Just out of curiosity. Best regards, Daniel–Ø.

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