Rich

UPDATED 2-11-25: Made recommended changes, created a "false start" in recap of 1st theme to add tension/avoid stale theme, tightened up dynamics, phrasing... I've started working with my pianist who is going to play in the workshop. I've cleaned up the score for performance--she was very helpful---and made the final large scale edit---creating a "false start" on the recap of the 1st theme, which then promptly lunges into the full throated piano rendition and complete theme/coda. It cut 15 seconds and is generally more concise and maintains momentum (I think). I'm under the gun to write the Rondo in 3 months with a workshop penciled in for June. My pianist is largely MEMORIZING my music--which is humbling and a wake up that suddenly, with a performance in the offing, this is FOR REAL. Getting there. The workshop will help with critical final edits. This may be Opus 1... we will see..... (2-11-25: Corrected bar 116 timing--used "hidden" markings for the first time--very handy to get a good performance score AND use the score for playback! Also corrected bars 248-250 run up to finale thematic statement. Timing/variations in tempo are difficult with computer....human players would have no problem doing things that take a half dozen markings to achieve with a machine....) Now it sounds about as close to what I intended as possible...) (NOTE: FINALE is giivng me trouble---the last bars are having volume issues, and are too loud in playback....despite numerous efforts to correct. Dorico is coming!....)

Beautiful, Henry. Very emotional--reflective, inward, then exuberant The Chopinesque turns do it credit. When I first really decided to wade into Chopin's music a few years ago, it was like getting hit by a truck! He is so original, idiosyncratic in his expression. (It makes sense, --essentially trained by nobody, born a master...) As thatguy-v2.0 points out, almost every composer was influenced by others, and modeled works on ideas passed down. Its the nature adopting those ideas that counts. I just finished Richard Maunder's book on his Mozart requiem completion--and by the end I was struck by the many, many influences, cantus firmus borrowings, thematic variations Mozart utilized from Handel, Michael Haydn, Gassman and others --including his younger self.... But the Requiem is decidedly Mozart (at least what HE wrote!). This is decidedly Henry. Wonderful. And I learned what Locrian Mode is. I like that too....

My experience with dynamics using Finale is that you have to be very fussy with markings to get a good performance. Musicians know how to work a passage intuitively. P, MP, F might often be more than enough indication.. But with notation, the computer does only EXACTLY what you tell it. Each dynamic makring is tied with a specific, unchanging volume level. I use ppp through ff to get a sound I like. I spend a LOT of time on this. The VST sound set has some impact as well. Baseline volume, and how volume is registered with the samples is also a factor. You would need to make a PERFORMANCE score for HUMANS if you wanted to workshop/ or get a piece performed.

I confess I have no idea what Dark Souls is, but THIS is a very fine muscal idea! I agree it's a little dry and would benfit from a small amount of reverb. Wondering how wonderful it would be with a string quartet and the different tibres, colors of the insturments?..... Worth expanding on, for sure! I can only once again recommend Vienna Symphonic Library for solo strings--and pretty much anythin else. The special editoins V1 is now one package (not v1 and v.1 PLUS) and you can get it at about 40% at least once a year when there is a sale. They are well supported and work with Dorico, Sibelius, etc... The new SYNCHRON SOLO VIOLIN is excellent--very expressive with a nice but not intrusive vibrato. Articulations are extensive....

Wow. I'm almost in tears (again...) That's all any composer at any level could want---listeners to enjoy their music. Thank you for the extremely kind and generous words! This is my 6th completed piece/movement, and I've been working at the very limits of my understanding for the almost 3 years I've been at this. I don't have to tell you how hard composition is, as a discipline. It amazes me how much NOVELTY we have to introduce --thematic, orchestration, rhythmic, etc... to keep a piece fresh and engaging. I've been at this movement for over a year, when I first wrote down the first theme material. The ups and downs, frustrations, blocks----makes it worth it when you get a compliment like yours. To be honest---as each of us works alone, for hours, days, months..."is it any good??" is often a secondary though to "Am I actually INSANE??" (ONLY HALF-KIDDING!). I'm going to keep at it, and hopefully get a memorable rondo (dramatic/heroic NOT sad...) out by summer. (I'm thinking of Hummel's A minor piano concerto (no.2). A wonderful composition as a whole, but his rondo is a definite ear-worm for me... You have been warned. Maybe I'll frame your post to remind me that the looney bin, for now, is held at bay! Again, thank you!

Thank you Henry. She was a beautiful person and loved music. She sang in choirs all her life, and encouraged my musical pursuits. She once told me quite recently that she had something she always wanted to express in music (she started piano lessons at age 88!). I almost broke down on the spot. I am her son, to be sure. There are occasional posts on "Why Do We Compose?" This is why! To EXPRESS--wordlessly-which to me seems to be where all the really important parts of life are hidden... Henry! I had a long think on the simple question: "How to start?". We have Mozart's unison example on his masterpiece in G minor. But this has been overused. Brahms starts with the quiet/mysterious in his 1st quartet. I settled on this rising, dramatic intro using a bit of motif and this --what I thought at the time--throw-away figuration as a filler- But the "filler" ended up being another motif through the movement! A "discovery"! The chorale gave me fits!!!! I had the melodic line very early, and the string part wrote itself, but the rules for progression here are quite strict--as you probably know. At last, after some piano/paper and pencil work I resolved my major errors and --POP!--I hope Felix would approve! I'm fond of the noodling violin in the repeat and violin /cello phrase. The fugato syncopation to start is one of the few rules I worked by! The contrast with the regular beats provides some "built in" tension. I think this is correct? I will look at your suggestions--but yes! here the transitions gave me some fits---I will absolutely look for improvements. Glad you liked the coda. This came early--the basic idea, and I knew I needed to expand on it to successfully conclude, so I again used a rising syquence from G minor to a C minor key in the two iterations---closing with a faint echo of the upward push from the opening. The VSL sound set really pops here. The piece works best when I stick to proper chamber music style--- a dialog among equals-- But the more "symphonic" sections (all voices together)have a place. I' m not done doing some patch-up (It never ends). Transitions between sections still vex me and I am looking to trim measures to keep things tight and forward moving. I'll post (probably several!) corrected version. A workshop with real musicians is coming. I'm committed! I may finish the rondo (and piece) first to get more bang for the considerable bucks. I really REALLY appreciate your comments, Henry. You, Peter, others in this community have been my true teachers and I hope you agree I am coming along-- because of your help. This is the longest, most involved, and first proper sonata form piece I've done. First fugato! And pointed criticism and encouragement have made growth possible. I've lost my great musical friend here in my "real " world. But my virtual musical community lives on, and my mother would most approve. Thank you. Thank you all.

At long last I've gotten my Piano Quartet 1st movement into a near- final form. There are details that need attention, but I think it is time to hopefully get some feedback. It took a while--my father developed severe alzheimers, we had to move them, sell their home... And then my mother passed---who gave me my love of music. Composing has helped me commune with her..... *************************************************************************************** A Brief summary of the 1st mvmt: This is in classical sonata form: exposition, development, recap with a brief coda. Exposition: 1st theme in C minor, 2nd theme in F major, return to 1st theme and codetta Development: A: Development of 2nd theme into minor, some diminution of the theme, and looser feel B/C: Introduces a third theme, in 4/4 time a major key inversion of 1st theme turned into a Mendelssonian chorale w/ piano, leading as an intro to... A fugato passage based on the 1st theme regularized in half notes in A minor (4/4 time) Coda transforms back to 6/8 and C minor... Recap: Return of 2nd theme in Eb major (instead of F) 1s theme in strings and them a grand statement w/ piano, joined by string to finish. Coda: Introduce another complimentary motif/new material manipulating main theme to close on strong cadence. ************************************************************************************************** I generally like it, but working with recap textures/thinning and trying to abbreviate for the sake of momentum might be something I look at. The FUGATO passage is my first, and was hard won. I think it works. I learned a ton working on this piece. Third movement Rondo in C minor next... (I include an MP3 of the second movement (PQ Mvmt.II VSL WS MASTER), using the new very expressive Vienna Symphonic Library Synchron solo violin... )

Good luck with your book! It's so interesting and telling that a book on the topic of music compositions and emotions is actually a novelty today. In the baroque period, referencing particular keys, intervals, chords, figurations in the light of emotions was boiler plate standard knowledge. We are loaded up on technical analysis, various "systems" of sound, and a whole universe of extended techniques--- but forget the core "WHY? " and what this is all for. Film composers are the exception----and it is small wonder that as academic music continues its wandering in t he desert, John Willams is lauded as composer laureate of the WORLD, and so many others are celebrated. Forget Feeling, and you are working with half a toolbox....

Markus-- I liked this piece! Somewhere between late baroque and early classical--definitely in the manner of C.P.E. Bach--- too edgy for his papa! Your counterpoint is very pleasing. I had started a flute sonata last year and gave up after 10 bars--beyond me then, for sure. Counterpoint /Baroque writing is a skill set that demands tremndous dedication and focus--and you do it very well! The sound set is very good, also.

My main enemy now is time and energy... Composition take "all of me"-and if I'm not rested, in a quet mood, and alert, my sessions will usualy not go well. I've learned not to force it. Taking a break might be the best advice, as "prep for composition"! That said: I've always liked the quip "Inspiration is for amateurs." (Chuck Close). There is something to it. A professional musican/composer sits down with a job and works it to completion. Is it the BEST completion? Maybe not. But it is done, which is probably said of only 10% of all amateur projects started. As I've gotten more experience, I've begun to view a compostion as a series of required steps- a process. If you break it into steps, and complete each to a general statisfactory level, the end product stands a chance of being viable. Finding thematic material, deciding on form, completing exposition, development, recap, coda...working on transitions,,etc...There are so much to do it can be overwhelming, but working this way I find it pragmatic and self-reinforcing. Compleitng a step makes me hungry for another "bite"... Now I just need a 30 hour day, and I'd be all set....

Since you asked--- and I am aware these are very subjective things: The bar 11 lead in melissima-- (don't like it. The rhythmic feel is very jarring to me and out of keeping it seems. Another way?) The turns/gruppetos bar 24/ bars 54/55. (Single grace notes or short value lead-ins to main tone?) The grace notes figure at 42 (again-- something simpler?) Bar 21: 16th notes figure (something synchopated/another rhythmic feel??) Bar 41 milissima: (just ain't working for me--simpler?) Just my take. I know what its like for others to make suggestions--- you've spent a year on this and are very close to it. If I don't FEEL THE LOGIC of a change, I've learned just to leave it. It won't help if you don't internalize and believe. Most of these things aim to a simpler more direct effect--in keeping with lovely story you spin out. This is more about my musical sense (or nonsense!) that anything objective. Again, a lovely piece that shows the work!

A- I wonderful piece overall. The progressions, formal logic and conception are sound and convincing. My one objection would be to some of the figurations for the right hand---rhythmically jarring perhaps beyond what is necessary or congruent with the work as a whole. Also, while I get the music box-like simplicity of the right hand playing single notes, I wonder if the piece wouldn't really POP if you introduced more harmonic depth/counterharmony in the right hand at places of elevated drama/emotional importance? I must say, there are so many small, thoughtful harmonic/melodic twists that really MAKE this piece--particularly endings of phrases and transitions. Clearly influenced by Chopin's take on Field's noctures. Very nice, and thank you for posting. PS: love the piano sample.

Glad you liked it! I love his chamber and solo piano works. "On an Overgrown Path" for piano captures the same feel as the Idyll. Check it out. His open, light scoring and idiosynchratic /unusual melodic sense creates a one of a kind effect. Your piece captures this. Yes, ABA as you lay out would be great. Glad to see you are open to changing the dynamics for the "dramatic" break. If you keep an eye to preserving the mood, many things might work quite well. Cant wait to see the finished product! Good luck!

A beautiful piece---worthy of expansion. Somehow reminds me of Janacek's writing for string orchestra--the Idyll. Very nice. I am not a fan of the forte exclamation---perhaps a slightly lower volume long dissonant chord? --this seems to break a wonderful, enchanting mood that I would jeaolously guard.

I've restarted after about 8 years of lessons and an 8 year break. Warning and an Affirmation: 1. You will sound terrible at first. Very frustrating--its locked away in your cells but cant get out!!! 2. Get a teacher who gets you. 3. Practice: I practice 3 or 4 times a week, for 2 to 2.5 hours. 4. For several weeks/months, it will seem like slow progress--but you are rebuildiNG synaptic connections, fast memory, eys to hand "automation". This simply takes time for the BODY to build. Hit the old etudes, the old practice routine. Try and have FUN. 5. And one fine day/week---- you will have a BREAK THROUGH AND YOUR OLD FORM WILL COME BACK. This took me about 5 months!! Now I am in just about where I was, and working happily. Good luck and godspeed.....