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Wait, what? One of my favorite composers in this forum, Vasilis's piece is played by one of my highly regarded pianists, Henry? Great, this is a good day, I can say that, certainly. Hey, Henry, well done — this is well played and beautiful. This performance breathes life into the piece even more. As for the composition itself, Vasilis, as I said, amazing. So amazing. Thank you, thank you for sharing this!! Shout out to both of you guys! Best, Lithl.

My dear friend, thank you so much for your kind words and, above all, for your wonderful support. I truly enjoyed it immensely. There is nothing more beautiful than hearing your compositions performed by such fine musicians and seeing them appreciated so much. Once again, thank you both from the bottom of our hearts.🙏🙏🙏

Hello fellow composers! I wanted to share a short piece I wrote called Forest Path. With this piece, I was trying to evoke the feeling of walking along a quiet trail through a dense forest — something intimate, peaceful, and reflective, with a sense of gentle exploration. As with my previous pieces, I’ve been trying to focus on melody, orchestral color, and restraint. The goal was to create a warm, lyrical atmosphere using relatively transparent textures and gentle harmonic movement, rather than relying on large dramatic gestures or extensive development. I’m continuing to experiment with writing short, self-contained pieces that establish a distinct musical character without becoming overly complicated. One of my goals with this project is to improve my ability to write memorable melodies and use orchestration to support the atmosphere and expression of the music. I’m particularly interested in whether the musical ideas feel engaging throughout, despite the relatively simple structure and restrained writing. I’d also welcome any thoughts on areas where the piece could be developed or refined. Thanks in advance for listening! Forest Path - CONCERT SCORE Ver 1 YT.pdf

Here I am delighted to share a recording of my sonata, beautifully performed by my dear friend @Henry Ng Tsz Kiu I feel truly honoured by this wonderful gesture, and I cannot thank him enough for the time, care and generosity he has devoted to bringing my music to life. Dear Henry, thank you from the bottom of my heart. You are not only a remarkable composer but also an outstanding pianist, and knowing that you have chosen to perform a sonata that I dedicated to you makes this occasion even more special and meaningful to me. I feel deeply grateful and honoured. Thank you, my dear friend! Vasilis Sonata no.27 1st Nov 2026.mp3

Hello. It's been a while since i last posted here. Today I am back with a new piano sketch. Hope to get some good honest constructive critique on this work in progress. Thanks :) The Day Tomorrow Died draft2 wip - Bjarke Tan - Flow 1.mp3 The day tomorrow died revision 1.9 score.pdf

HELLO Let me just say that if you have no experience in composition, you’ve got a long way to go before you can compose a proper fugue. I get the impression you must have some knowledge of counterpoint. But before you start composing fugues, you need to master other, less demanding areas of strict counterpoint. It’s simply not possible to come up with a logically structured composition just by studying two of Bach’s fugues and leaving it at that. What you’ve written doesn’t sound bad, but, in my opinion, there’s a point (which I think is the one mentioned by @Lithl ) where everything falls apart quite a bit, and that’s in bar 6. Because you’re forming a D#–A tritone which, although the intention is for some of these to be passing notes, I think that should resolve into a Bb chord. Enharmonically, you have Eb–A, a tritone which, in this context, must resolve in this way. The solution you’ve suggested for another context is fine, but here, at least for me, it ruins the whole thing.

sorry to necro a dead thread, but I was just checking my socials when I remembered this post! I actually just had this piece recorded by the principal strings at the Bolshoi Theatre, believe it or not!! They're definitely worthy musicians lol, so here's a link in case you're interested: https://youtu.be/SIrKsoVDBKU

Ok, so to help you understand what I'm trying to say, I've copied and reworked the first 18 or so measures with tonal music theory in mind whilst trying to maintain a baroque aesthetic. Notice in my rework what I have done. This is how I would have done these first 4 bars had I written this piece. I have relabeled the Roman Numerals to better reflect the harmony that you suggested (which was simply i-V65-i). Also notice I have included dynamics at the beginning of the piece, as well as a metronome marking, and I've nixed the solo violin as I felt it was redundant. I have revised the second violins to not interfere as much with the first violins; see how they overlap much less. This provides melodic and harmonic clarity. Look also how the bass line now has the scalular run in melodic minor, which means it includes the leading tone for F-minor, making the tonic feel stronger. I also made the beginning of the 2nd bar in the bass an E-natural to bring about better harmonic clarity (dominant chord in first inversion). Finally, notice how at the ends and starts of each new measure, the lines cadence to each chord with smooth voice leading. This next system had a very nice sequence over the circle of fifths. The biggest changes I have made was to raise the leading tones, which makes the harmony clearer. I have also changed the Roman Numeral analysis, since much of the harmonies you analyzed would actually not be functional. This would simply be labeled as a sequence. The next system felt imbalanced because of the premature resolution. I decided for this example to extend the dominant pedal, and I believe it had a great effect. I also adjusted the harmony to better reflect what you implied, which would be some augmented 6 chord (your analysis said VI and then later, VIb5, however, the functionally since it leads into the dominant, it would be augmented 6. In the second one, there was no flat 5 present, instead the 5 was actually raised, making it a Germain 6 chord. In the future, be sure you understand chord functions.) Here I have continued to adjust the notes to match the harmony you implied. In particular, I found the parallel 4ths to be problematic and changed them to parellel 6ths. Finally, here I felt that the music began to lose momentum, so I simply cut out a few bars. Note the entrance of the soprano has a dynamic marking, and it appears above the music. This is so it doesn't interfere with the lyrics. Also be sure to divide the syllables properly and know that the "____" marks the ends of words being sung over multiple notes, and the "-" only occurs between syllables of the same word. Your usage of both of these is very inconsistent and unclear. And note how I simplified the line to make it slightly easier to read and sing. The rest of the piece has similar issues throughout. In terms of playability, I have already explained that the soprano is too fast and intricate and especially goes too high for this speed. Here is a great chart for vocal part ranges. choral-ranges.pdf Slightly simplifying the melody, especially removing the appoggiatura, should help. As for the violins, you mentioned they may go too high in some areas. They do not, the range is fine. What bothered me were these huge leaps. However, having checked with a violin player, these are actually doable. The changes I've made are obviously free to take what you like and discard what you don't. The important thing to keep in mind is that the music has proper voice leading, and clear harmony. My revision does improve it, but there are other ways to improve it besides what I did. Just remember to study voice-leading and harmonic function more in depth, and you'll be golden OVosOmnesReworkAndAnalysis.mp3

I've written many love songs over the years for specific individuals. This is...really just another love the song. The opening notes are supposed to represent how my heart stopped and fluttered when I saw her and hopefully my feelings for her will now be immortalized on the internet. I noticed that people don't seem to post too many love songs on this forum...but which one of us have not written a love song at some point in our lives? I wrote this one earlier this year and got around to recording it last weekend. Trying some new formats. I notice that a lot of people here don't tend to post live pieces. Do people like having the sheet music, vs watching someone play? Let me know....Recorded on a Bechstein Grand. I might try to add the sheets in so you can see my hands playing and the sheet music, if people feel this is a nicer format

Hi @MinGry , thanks for clarifying the intention. Of course, with that in mind, many of my comments become irrelevant :-), but it was a fun and interesting exercise anyway. And yes, I agree that if it gets played, that's finally an excellent achievement, I agree! Take care, Julien

@mazeth Thanks a lot for taking the time to play through the pieces and write such an extensive review! Did want to clarify something regarding the simplicity of the accompaniment. That was quite intentional across the collection. After working on more formally structured sonatinas, I enjoy writing something more simple in between. It's especially fun to think pieces like this might actually get played by someone which is exciting! To address measure 6 of the first piece I am actually curious about what people think about this. From the perspective of harmony you are absolutely right it should be an F# instead of Gb. What made me write Gb is just creating visual stepwise motion between the lines. I am not sure if my logic is justified in that haha! To address the measure 10 G natural. I tried to play around with minor melodic scale which is why I decided to go with G natural. While using a Major V to have a stronger pull back to i. I am not sure how classical this is of course, just trying to explain the thought process! Thanks again for the comment!

A "witty" "charming" work with a nice friendly "glow"! Mark

A lovely song. A very passionate composition that suits this style of romantic song perfectly.

Hi @MinGry I put myself behind the piano and tried jamming a bit on it. Here are my first impressions: Piece 1: - mm. 1-23: - The melody material is interesting. - I found the accompaniment too simplistic: the chords are too obvious and they lack some "colours". What I did while jamming was to create a pedal, by keeping the A at the bass (along with the chords you use, E, Dm, Am), and adding some colours on the way, e.g.: Dm6... I would also make it more "lively" by replacing the half-notes at the bass by continuing the eigth progression. I always found that creating a good accompaniment - one which is interesting and that "promotes" the melody - was the hardest part, so don't dispair, you're not alone. - mm. 24-28, I liked the transition: simple and short, with an interesting third voice. - mm. 29+, good to fall back on the melody, but I felt it was a bit too early to repeat the exact same pattern: I would recommend to add a bit of variation (either in the rhythm, the accompaniment or the melody itself) - m6: I believe F sharp would be more correct than G flat (as you're temporarily in the A scale) - m10: last note of the treble, I felt G sharp would be more appropriate than G? Piece 2: - overall, pleasant simple piece, with an agreeable melody --> I feel it had less potential than in the first piece, it didn't inspire me as much. - the accompaniment is also very simplistic, which makes it an excellent piece for beginners. - the end of the score doesn't correspond to the music Piece 3: - again an interesting melody. - the bass is more elaborate, but would deserve some more colours. Typically, when you play a chord e.g.: m. 11, try not to start with the same note as in the melody, and try as well to not always start by the fundamental of the chord (F is this case, which you could have replaced by an A - also part of the F chord. In m. 12, the bass could start with a B flat, making your chord a C7, ideal to then reach your chord F in m.13 - also an interesting chromatic progression at the bass) - in m8, you introduce some dissonances (C and C sharp), that may well suit a jazz piece, but I felt it didn't fit very well with the overall athmosphere of the piece. I tried a C9 - starting with a D and descending, I felt it fit better. Thanks for sharing, I enjoyed discovering your work, and playing around melodies of pieces 1 and 3! Take care, Julien

A curious and lovely piece. You’ve made good use of the piano’s range. At first, the very high register can be a bit tiring, but this is soon offset. It would probably sound good on a celesta, an instrument we associate with this sort of scene.

I listened to your composition and really liked it. The melody is expressive, the texture is interesting, and so is the orchestration. It turned out to be an excellent piece!

“Vampiress” (a city song from the cycle of musical illustrations to Max Dalin’s novel “The Bonfire and the Salamander”) Music by Alexander Khomenko Lyrics by Konstantin Chiganov Lyrics: They told me: “You love a corpse, you fool.” Did you think decay would make me flee? The bite of her lips, so cold and cruel, And I will have the last laugh, you’ll see. The graveyard is a twilit garden’s gloom, The tomb, our bridal chamber, waits. Her hair’s sunset lights up the coffin’s room, And on that bed my strength abates... Her fangs gleam sinless in the night, Her crimson eyes make a vow: Undying love, and by their light Hell and heaven are nothing now! Our wondrous path, our frozen sleep, To catch the thread of fate and blood! Love Twilight’s princesses, love deep, And drink not wine, but life, a flood! (translation by Claude)

Nice work, I’m doing this on my phone on the way back from a performance so I can’t really do much in depth at the moment, But there are some nice moments in the music with the winds and the ambient pacing. I would put more things to add texture if I were you though

I enjoyed listening to this. I’m far from the best person to analyze other people’s music, but here are some thoughts on what I heard. First, I think you should just call this f minor and write it as such. Phrygian dominant would have a g flat, I believe. (But I haven’t worked with modes in years and you might have a different reason for not putting this is f minor.) Add accidentals for the natural minor as needed. It will still give the sound you are looking for and make it much easier for a piano player to read. Also, is that a tie on the top note of each pair of notes on beats 2 and 3? It doesn’t sound like it is in the recording. I think they are not necessary and I found them distracting when playing through the piece. I like the themes. They are pleasing to the ear, at least to mine. There could probably be a little more variety. Measures 13-14 do reverse the direction of the tune, but it’s still rhythmically the same, and I wonder if that is giving enough sense of “new material”. Also, it’s in the same key. (This is a problem I have writing music — trying to keep things familiar but not beating any dead horses). How about putting something in a related key, maybe a major or try reversing measures 13 and 14, so you would have the new phrase start with three quarter notes. How about putting in some theme that has wider intervals. You have mostly step-wise motion the whole way through with the exception of a few jumps in the octave section. I think measure 39 and following have the more successful new material. Good variety but the key is still intact, so it’s provides some connection (again, for my ears, can’t speak for others). Maybe don’t use repeats for measures 63 / E section. The listeners’ ears will be well-familiar with the ideas by that point. Finally, I vote for an authentic cadence to at the end. It sounds unfinished. Like I said, just some thoughts I had.

Thank you very much – and, haha, I do not recognize the dissonances that much. But good to know that I’m just far enough away from „simple harmonies“, so that I must not exaggerate with dissonances much more! That’s nice to hear. At first, I wanted to develop the fugato further to a usual climax and ending. But, since its flow had already been „disrupted“ twice by the second and third stanzas of the poem, I decided to conclude the piece with a recapitulation of the opening „improvisation“, to finally come home to the key of Bb major. I was not sure about that decision, since that recap has a much more melancholic mood than one would expect for the task to depict a bright summer day. So I really appreciate that you – and some others – enjoyed that particular section. Yes, this kind of “orchestra” is indeed a bit weird (or “diverse”, as you politely called it). I use the YCF competitions to experiment with instrumentation while orchestrating my pieces, which I usually compose (initially) for solo piano. And since the competition rules limit the amount of instruments or players to five, I had to figure out how to achieve the greatest possible variety of colors: I needed a melody instrument and a substitute for the human voice, so I used the trumpet both with and without a mute. The cello and guitar provide the “orchestra” with the bass and rhythmic foundation. The piano remains as an accompanying instrument, but being paired with the accordion, which—in my opinion—is the most important instrument for the piece to produce a somewhat „French“ mood. Thank you, that is a great compliment for me and proves that I was not as wrong with the „weird“ accordion idea! Fortunately, yes—I won third prize in that competition.

Hi YC members, hope everything is going well with you. Today, I got the idea to start this topic: the best pieces you have listened to in 2026 so far. I don't mean you have to only mention pieces released in 2026 — but the best pieces you have listened to in 2026 as of now. I'd like to share: Jon Appleton's "Homage To Orpheus". Makoto Ueno "Preludes, Livre 2, CD 131: No. 10, Canope". Also, this piece as well: Ben Nobuto's "Hope Spiral". My friend @CrystalCanon told me about him, and I immediately fell in love — please check him out! Thanks, CrystalCanon! Well, I actually have many more pieces, but that's all for now. Next, it's your turn — what are yours!?

Wow that sounds really great and the intro seems so familiar but the main tune so unique.

A really enjoyable piece, Alexx. It all flows smoothly from one section to the next. There’s good balance between the parts and good sound production. I especially like your phrasing. I think waltzes can be kind of stagnant if the phrases adhere to the 1, 2, 3 beats to much, but you seemed to have broken the phrases up just enough to give it all a nice forward momentum. Really good listening to this.

I don't really have composition knowledge or experience I do like fugues a lot and have learned the first two from WTC 1 on piano. This is incomplete I am wondering what we think so far B Majuh.pdf B Majuh.mp3

I would heavily recommend starting with an introductory textbook on harmony, such as this one by the ABRSM which you can view for free. The counterpoint you're interested in (18th-century counterpoint) is essentially the usage and adaptation of (16th century) contrapuntal techniques in the context of harmony, so detailed knowledge of the latter is absolutely essential.

Very high degree of Spanish influences, shifting rhythmic syncopation and time signatures and Phrygian mode. You clearly know what you're doing. This is a very pianistic piece, despite never having written for piano before. All of the chords and embellishments fall easily under the hand, and you're careful to give time for the performer to breathe. I'm still quite an amateur in terms of compositional technique, but I would say as a pianist this is a very fine start to writing for piano. I would recommend exploring the instrument's capabilities a little bit more in order to balance out the edge. You could, for example, have added some of the lower bass notes in the left hand accompaniment for bars 23 - 24. Since they're so low and resonate for a significantly longer time, they give a much richer, ringing tone quality to your staccatos. Not to mention, it helps to activate the resonators in the piano, leading to a much richer tone in general, and it lends to a much more powerful and dramatic effect. However, this is still a very well thought out composition.

Hello my dear friends , This Allegretto is a heartfelt tribute to my beloved Franz Schubert, whose music has been a constant source of inspiration and admiration. Through its lyrical character, harmonic colours, and contrasting moods, this piece reflects my deep affection for Schubert’s musical world and the profound sensitivity that makes his music so timeless. Though written in my own hand, it is offered with gratitude and love to a composer whose music continues to speak directly to the soul.

My dear friend, thank you so much for your beautiful and thoughtful words! It always makes me happy to know that my music reaches you in such a way. And yes, Schubert’s D.959 is indeed one of my absolute favourites, although I find it almost impossible to choose just one work of his. His music possesses a depth, tenderness and humanity that I have rarely encountered elsewhere. His last three piano sonatas are, to me, among the greatest treasures in the entire piano repertoire. I found your question about exploring a different style particularly interesting. I have occasionally wondered what my musical language might sound like outside the Classical and Romantic world that I love so deeply. Perhaps something more impressionistic, in the spirit of Satie’s Gymnopédies, would be an interesting experiment. Atonal music, however, would probably take me much further away from my natural musical instincts! Harmony, melody and a certain sense of tonal warmth are very much at the heart of how I think and feel about music. Still, one never knows where inspiration might lead. And thank you for calling me the legendary composer of YC! Haha! That is far too kind of you, my friend, but I truly appreciate your friendship and encouragement. It means a great deal to me. Warmest wishes, and have a wonderful day! 😊

Hello @electricporridge27! Wow, is that really an improvisation? Please tell me it isn't... This sounds amazing; you have incredible piano sense and wonderful ideas. It's such a pleasure to listen to. Sometimes, people appear in this forum who discourage me with their sheer talent, as if saying, "Hello, when are you going to quit music?"—well, not literally, but you know what I mean, haha. It's truly at that high of a level. I'd love to listen to your non-improvised pieces, too. Thank you for sharing and welcome here :) Best, Lithl.

Nice piece again, my friend - sounds gentle and beautiful as always! I also love Schubert and you said your favorite is D959, right? That is awesome and a masterpiece. My favorite personally is Piano Sonata No. 21; with that first section, I immediately get immersed into his beautiful world. I recently thought about you - if you made a slightly different style, what would it sound like, like Gymnopédie, or an atonal one... I'm sure that you definitely have a beautiful musical soul and are also expressing it in a wonderful way. Thank you for sharing this piece, have a good day 😊 You are the YC legendary composer! Best, Lithl.

Hi, @draingxngceo! This is short, but personally, I think it doesn't sound bad - not gonna lie, so far so good: it depends on how it develops from here, but it will sound good I guess. As of now, it’s difficult to get a glimpse of the overall characteristics of this piece—the last part feels a bit awkward. I'm not sure, but I feel like in this piece, you might be focusing too much on using a fugue, prioritizing it over the clarity of the motif or the subtlety of the development. Look at Bach's works, for example—while they are fugues, in many of them, the musical character of the piece seems to stand out more than the fugue structure itself. Anyway, since you mentioned it's incomplete, I’m looking forward to seeing how you develop it from here. When it's finished, please be sure to post it in this forum! You'll be able to get more detailed feedback from knowledgeable people, maybe. I don't know music theory, so I can't offer any specific ideas (sorry), but I'm sharing this piece with you because you love fugues!😁 Also, welcome to the forum, let's enjoy this forum together :) Best, Lithl.

Not sure if this one is the best, but it is certainly my favorite one.

Hello, Listened to it twice. It's a fantastically beautiful piece. The left hand got a bit muddy at times, maybe it's just an audio preference thing. The RH is very sparkling and you seem to have a nice mixture of romantic/almost jazzy/impressionistic harmonies going on to my ears. There were moments where it felt like it was going too long. But it's just so darn sparkly and emotive, I had to keep listening. I'm probably a sucker for these sorts of pieces. Subjectively, I felt something in my heart when I listened to your music. The music itself seems a bit transient though. After it's all said and done, I'm left with a pleasant feeling, but there is nothing that is too memorable that remains. Whether that is a good or bad thing (or even something that most people might experience), I will leave that up to you to decide!

https://www.carolynmillsharp.com/resources/Writing%20For%20The%20Harp.pdf https://www.harpinsideout.com/composing-for-the-harp?currency=EUR

Blurryface by Twenty One Pilots Thanks for the Memory - An Album from the "Great American Songbook" by Rod Stewart (a lot of cool really old songs on this one) Both of these albums really helped me get through a tough time while I was in the mental hospital - I listened to them almost everyday since someone just happened to download them onto the public computer (which wasn't connected to the internet at the time).

Hello, yet again with another prelude... GAWL aren't you sick of them yet?? Anyway, this one flirts between Db and C#m. It's 6 pages, but not that long as far as measures. It's grandiose, yet soft and subtle. Unfortunately, the midi doesn't do it justice. The arpeggio measures don't hold the first chord/low note in each one, but hopefully the score paints the right picture. I think it's due to the amount of notes held with the sustain. I hope you enjoy this, and any comments or concerns are welcome. :) Prelude 18 - Db.mp3 Prelude 18 - Db - score - Full Score.pdf

This is the final draft of my best work up to date in my life, String Sextet in G flat major. Posts of seperate movements have been posted before and I'm not gonna repeat it here. If you're interested in the music details, pls check the following YCs: 1st Mov: 2nd mov: Here is the score and YT link of the work: String Sextet in G flat major.pdf Here is the structure of the work: (*denotes parts I love). The two movement structure is inspired by Mahler's 8th Symphony, so the second movement is proportionally much longer than 1st movement: 0:00 Opening credit and structure 0:11 1st Mov, 1st Part: Tao Primo (*3:35-3:47 nice bridge, **4:40-5:26 nice chromatics) 5:34 1st Mov, 2nd Part: Minore, a fugato, some little challenges (**9:40-10:10 nice retransition) 10:10 1st Mov, 3rd Part: Tao Return, a triple fugue and ending (falsely) (*11:45, **12:46 till the end) 14:48 2nd Mov, Lamentoso: Denial of Tao and realization of the realistic World full of tragedies. (*16:54, *19:11, ***19:44 sounds like my version of Bee's op.131 finale!, ***23:38-25:15 most emotional passage for me) 26:33 2nd Mov, Fugue a6: Objectification of emotions and reason. The most difficult passage for me to write technically but easiest emotionally. (**28:10-28:42 includes a 6 part stretto of 1st subject and a nice C minor modultation quoting my own Clarinet Quintet, ****30:07-31:27 a 6 part stretto of 2nd subject and one of my fav. section in the entire work with the very beautiful C minor passage, ***32:58-34:31 nice turn to pentatonics and nice disappointment) 35:03 2nd Mov, The Return. Start picking up the real self and soul and connect oneself with Tao, finding self equals to finding Tao. “I Six Books explain me and I explain Six Books (Lu Jiuyuan)”(*35:03-35:36 try to regain energy, **37:05,37:37,38:11,38:43 Nice color, **39:12 nice folk melody, ***39:15-40:15 Nice pizz.! And a very nice snap pizz! **** 40:46-41:46This passage leaves me in wonder. I don't know how do I compose this, **42:17-43:23 Nice appetizer fugato, ****43:24-44:53 Grand Climax!, ***44:54-45:41 Nice heterophonic passage which ignites my creative power for this movement, *****45:42 till end Pefect ending) This work was first inspired by Chinese Philosopher Tang Chun I's Realm of Heavenly Morality in his monumental book, The Existence of Life and the World of Spirituality, in April 2022. I wanna felt and descibed it hence I finished the whole 1st mov. I thought it's enough, until I met with my dedicatee Johnson, my respected philosophy professor Dr. Tao and my friend Merina in April 2023, and I knew it's not enough since without pain Tao isn't possible at all. After some painful incidents in 2024, I am finally able to finish the whole piece in March 2025. For me this work is about Tao, Tao lost and Tao regained. Since this would be the final post on the Sextet, please let me acknowledge people I would like to thank along my way of composing. This work is dedicated to and in memoriam Mr. Johnson Ho https://youtube.com/@beingintheworld?si=9Ch3hnk1UtluHTRF who sadly passed away in July 2024, and it's a regret the work couldn't be finished when he's alive. I would like to thank him for his great inspiration especially his postive way to deal with his illness. I would like to thank Dr. Tao, without his teaching esp. the one on the book Buddha-nature and Prajñā (?) did I realise the importance of pain and human suffering to morality and humanity, and probably won't have enough philosophical basis for this work. I would like to thank Mr. Vince Meyer @Thatguy v2.0, who acts as my musical Virgil, providing so many inspiration particularly in this piece's fugue and different motivic usage, and also make this great recording. Also, thank him for his encouragement when I kept saying I could never finish this piece. I would like to thank Dr. David Goza http://www.youtube.com/@David_Goza⁨⁩ ,without his videos on YT I would never able to improve my own writing. I would like to thank Merina, Yvonne, Arjuna @expert21 and Peter @PeterthePapercomPoser for staying with me in my difficult times. I would like to thank Mike @chopin for his idea to go back to medieval texture in the Return. I would like to thank Luis @Luis Hernández which helps me solve the harmonic progression btw tritiones. I would also like to thank my ex-boss's mistreatment, as she teaches me a great lesson and the pain helps me reflect a lot which shows here. Also, thanks to everyone who has listen to this piece before and comments, as they help me a lot. Thank you Young Composers Forum and @chopin for giving me a chance to grow musically. Thank you for everyone who has commented on the work's parts before, I especially love the comments by @Fugax Contrapunctus @Giacomo925. Last but most importantly, I would like to thank my mum and family. Without their love I would probably fall much deeper and won't be able to finish this piece at all. Thank you!! P.S. One interesting fact on the piece is that it stays longer in F sharp minor then G flat Major….. Henry

I've already listened to this piece of yours, but I didn't give you feedback. Now, it's time to do so! My first impression was, "Tasty, this is a great composition." Really great, man — you've composed a great one! Around 12:35 was a so shining and beautiful section throughout listening to the whole piece. I don't know why, but I felt some kind of Chinese music spirit in that section. (Sorry, I'm not knowledgeable about Chinese music, but, you know.) Also, I loved how 40:00 was unique. I liked it. Nice, man, hats off to you, Henry! Oh! I know Lu Jiuyuan! He eventually influenced Wang Yangming, right? And... I know Zhu Xi, Zhou Dunyi, Xunzi, Zou Yan, and Song Yingxing, haha. I knew about them through learning history. Best, Lithl.

Me. I've never written a single love song in my life. That is because no one wants to receive my noisy music 😅 But maybe someday? If I get a "beautiful musical spirit". Honestly, watching someone play is better for me. One reason is that I can glimpse their individual spirit a bit. On the Internet, it is difficult to get their character, so it helps me to understand not only their music but also themselves even better. Another reason is... "I CAN'T READ SHEET MUSIC!", haha. It's very personal since most of you guys can read it. As for this piece of yours and the video itself, I have already commented on your video, as you know. Have a wonderful day, grant. Oh, also, glad to know you love Bill Evans. I really love him too. He definitely has — hard to explain — unique and lovely, gentle, harmonic textures, touch, and tone, really great. I love him... He is one of the few musicians whose music, even when I hear clipping in his album, I not only don't care, but I couldn't care because I am totally indulged. Have you ever listened to the album "Living Time"? That is different from his main musical spirit, but it is also an amazing one. I talked too much, sorry, haha. Best, Lithl.

Hello, Since you are looking for feedback on the images your piece evokes I will share some thoughts. measure 1 - it feels very playful for me. measure 17 - I get this very specific feeling of a sense of wonder and hardship measure 25 - this part feels especially dance like measure 36 - it gets a bit goofy here measure 52 - it ends on a playful note for me. The piece is very nice, it doesn't feel too lifeless to me.

Thanks, Mark! I’m glad the piece came across as friendly and charming. Thank you for listening. =)

“The Last Request” (from the cycle of musical illustrations to Max Dalin’s novel “The Bonfire and the Salamander”). This is a decadent romance. The video is simply a story and is not directly connected to the plot of the novel. Music by A. Khomenko Lyrics by V. Osadchenko Sung by A. Yachmenev Lyrics: Why should I fear the grave, or death’s embrace? A shimmering moonlit path calls me away. But, friends, as you escort me from this place, Upon my breast the sacred Eye don’t lay. White roses, silks, chrysanthemums so fair Will wrap my body gently in their fold. Though mournful, mute, you’ll hear me singing there: A dead heart through the roses, calm and cold. And when the moon is full, unbar the door. How weightless is the moon-winged flight! Whoever stays faithful, though life is o’er, Will enter eternity with me tonight. Twilight will take our weary souls to rest. No more of candles, no more of prayer. The grief of old grows quieter in the breast, And old remembrance hardly hurts us there... (translation by Claude)

I am very happy to share my 27th Piano Sonata, written in binary form. The work is written in an Allegro character and explores contrasts between lively, restless passages and more expressive and introspective moments, with changing harmonic colours and a gradual movement towards a quiet and gentle conclusion. I have dedicated this Sonata to my dear friend Henry, as a small expression of my appreciation and admiration for him, both as a composer and, above all, as a friend. It is a great pleasure for me to dedicate one of my works to someone whose music I appreciate and whose friendship I value deeply. The performance is my own, using the J. Weimes Fortepiano (1808) from Pianoteq 9. I hope you enjoy listening to it, and I would be very happy to hear your thoughts and impressions.

Good day. I’ve watched and listened to your waltz. It’s a pity that almost the entire string section was cut off in your score. I liked your idea. The character and the image are interesting. However, your orchestration raises questions. With a live orchestra, all of this will sound worse than in computer playback. You have a lot of unjustified voice crossings, a lot of imbalance, and instruments used in registers where they simply won’t be heard. And if a part can’t be heard, there’s no point in writing it. Take the very beginning. The theme is in the first violins, divisi. Meanwhile the second violins and, I assume, the violas provide harmonic filler, playing the accompaniment. What’s more, you reinforce this accompaniment with the woodwinds and even the brass! In real life, this will produce a very noticeable tilt toward the waltz accompaniment, while the melody will sound pale and inexpressive. On top of that, your first and second violins cross each other. That’s not good. The flute won’t be heard in measures 2-7. It’s too low for it there, and it will sound weak and pale. In this orchestration, the other instruments will completely drown it out. The brass chords raise questions too. Judging by your score, you aren’t taking into account that in real life the horn is about half as loud as the other brass instruments. This means that many of your chords will fall apart in practice. The trombones and trumpets will heavily outweigh the horns. And, as I understand it, you give the theme to three trumpets and flutes? I don’t think that’s the most successful solution. Your melody is fast and rhythmically quite complex. Even setting aside how technically difficult this part is for the trumpets, the very fact of three players performing it in unison will cause problems. They can easily drift out of sync. But, I repeat, I liked your idea, and the image is interesting. I wish you creative success. Alex

Many thanks for listening! I did think I might add a seed shaker or tambourine near the end, where the violins are playing tremolo. Maybe I could add some harp too.

Hi @Bjarke, A piece which sounds very much like belonging to a medieval epic! (Probably due to the regular use of the pentatonic scale and the chosen rhythm), m 20, is a typical example, along many other. Overall, I found it well built. Interesting areas with a gradual increase in tension, along with the contrast between the climbing voices and the descending ones (e.g.: m. 24). The "third voice" (not really written this way, but this is how it felt to me) in mm. 23-27, and mm. 31-32 (left hand) brought an interesting new contrast. mm. 26 & 27, I liked the E chord (which comes back in m. 32), really interesting new colour. Second part starting from m. 39, I found overall too repetitive: the melody lacks passion and the bass is missing contrast, until we reach m. 48, which comes as a nice change! Measure 51, we are clearly back in the epic theme, I liked the strong accents, felt like the battle field of the epic ;-) mm. 68-71, I found a good idea to get gradually out of the intense move. The intrigue you bring in mm. 81-82 are an excellent transition (really in the theme) to reach the closure. Thanks for sharing and please let me know if I completely missed the target with the medieval theme idea. Take care, Julien

Hello, second post on this forum. I would like to share with you my new piano collection called Feminine Fragments. Any feedback and suggestion is well accepted. For the score on video visit my YT page on the link below, aswell if you're curious about my other composition. Thank you! Click here Feminine Fragments.mp3 Feminine Fragments.pdf

I was just playing around/jamming a bit to your tune and at 0:19 it seems possible to perhaps change the left hand into C major chord, though you may need to change a few right hand notes if you want to "fit" the new atmosphere. From there, you could do something like F major, followed by G major and back to C major. This would sort of fit the whole i IV V thing you got going in the A minor key. If you want to get really fancy (keep in mind my music theory may be not the most accurate here)...I sometimes think of the ii chord (D minor of C major as a substitute for F major. So you could add that in, though I'm not sure if that works for your piece. Sometimes, making the F major (the IV) into a minor, so F minor sounds good. I tried jamming to your ideas a bit with the F minor and it sounds okay I think. Then you have to make a decision...to stay in C major or return to A minor. You could play G major if you want to stay in C major, or get the E major going, if you want to return to A minor. Sometimes it's fun just to switch the key suddenly and without warning (my hero Schubert does it often), so you can just slightly randomly turn the A minor into A major if you wanted for fun. A more advanced idea would be to switch the key using one note that it's same (I didn't do this on the recording). So if you are playing like an A note over and over...A is also in F major and also in D major, so you could sort of just "slide" the music into those slightly more unrelated keys that way too. Voila! You instantly have variety. I recorded myself noodling around a bit so you can see. I'm just an amateur composer, and I'm sure that you can get much more "precise" and robust feedback from others on the forum. Example.mp3