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Hi, thanks so much for listening! I appreciate your feedback and interesting observations. Regarding my harmonic language, I honestly just write what I think sounds good, there's no other way to put it. I've never really seriously studied theory, so at this point my writing is pretty much just what I think works. I'm starting music uni this year, so hopefully I can start to understand my own choices soon! XD

As a wind player, and from advice from other wind players, they usually will find a note to drop to sneak in a breath. Wind players are very used to playing passages that don't have opportunities for breaths. Also, when I played it on bassoon, I was able to sneak in a breath during the triplet eighth note breaks. Thank you so much for listening! I'm glad you enjoyed it.

This has been my main project for the last few months, it's my biggest project ever by far. This is the first completed draft, and there are lots of sections I plan to work on and make better. There are some midi errors that you will notice if you follow with the score. There shouldn't be an auditory break between sections, but alas. Please give feedback, and enjoy!

Wrote this for a friend, and we had a lot of fun recording it. Recording isn't amazing, but I don't think it's horrible either. This is a light pretty piece, writing this reminded me why I do this. Please enjoy!

Still not really interested in it, this was more me trying to write like prokofiev.

Thanks for listening! As for how I write my harmonies, it's not as sophisticated as I wish it was. I just go by if it sounds good. 🙂

Based on the attached painting. This piece represents the stone through two different textural motifs. The first is the block chords, sparse yet rigid. Their fleeting nature resembles how the paintings appear on the rocky canvas, how they almost develop from the stone itself. As you glance over the wall, the art appears, and just as quickly disappears back into the rock. The second motif, the meandering fifths, represent the fluidity of the rock, the way the wind has shaped it into resembling something liquid, giving this solid structure movement. The two textures intertwine and interrupt each other, until they collapse into a wash of tumultuous arpeggios. Out of this tempest the final section emerges- while the texture resembles the first stony motif, the chords are stacked fifths, which calls to the second, fluid motif. Rather than interrupting and contrasting each other, they have learned to cooperate, and they slowly dissipate, together, into meditative silence. The two motifs are referenced through the impossible title: "Flowing Stone".

thanks for listening! i only had 5 minutes for this piece, and i wanted to write a full journey within that time. i did hint back at the beginning with the trombone motifs before the final melody, and i think thats all it quite needed. i really enjoy circular forms, but i think this piece works as it is, being through-composed

Thanks for your reviews! unfortunately I do have to keep it short as the competition I'm writing this for has a limit of 5 minutes. 😞 I might expand the piece in the future!

A good amount of the playback is broken. This is a very early draft

Everything after the introduction is just a blueprint. All the material is here, I just need to expand on it. This piece will only be 5 mins long. Let me know what you think! Also, glissandi don't work with tremelos, so the playback is a bit broken.

Tbh this is really just for the purpose of an exercise, I'm not super interested in seriously composing in a style like this. Still, let me know what you think!

Waow percussion piece

A step in a new direction. Just need to record breathing sounds in first section.

Passed Juilliard pre-screening! Now I have to prepare 2 more pieces in addition to my portfolio. Here's one of them in progress. Any thoughts, advice, dislikes or likes are welcome.