NZs

Redone in the first movement. I kept them in the third, becouse I like them... As it was just a beta release, I didn't used a transposed score, but I use it now. I've also fixed some errors as well. I removed the little notes. I was very sad to do that, but I transposed that measures an octave lower. I inserted a breath mark, so the player will have enough time to solve that problem. Anyway, thank you for the review! cl3.mid cl3.pdf cl3.sib

Thanks. I'll work on it.

Hello, This is my concertino for clarinet and string orchestra. The drafts were written during August, and the orchestration and other things were written in September and October. This concerto is about 9 minutes long; in style it is mixed, maybe I would call it eclectic, but it was mainly influenced by Hungarian music, baroque and some snippets of minimalism. Note: I'm not a professional composer, just composing for hobby. But I'm very curious what other people say about my work. Thanks in advance, NZs cl3.mid cl3.sib cl3.pdf

Thanks for the reviews!

Thanks for the nice words. For the tempo: I'll look after it, but I think it's not to slow, 'cause it should be played very meditative... But I dunno.

Hi! This is my first try in the concerto genre. Originally it intended to be a concerto for one soloist and different recorders but I later dropped the idea, and replaced recorder(s) with the harmonium. The composition started in April, and with long interruptions I was working on this since now. It's in three movements (II and III attacca), the first in a modified concerto-sonata form, a second in a freer form: Largo - Scherzando - Largo (II) - Tempo I, the third is a crazy rondeau based on a theme which has it's root from the hungarian folk music. Which I think should be verified is the orchestration, 'cause I'm just a hobby composer, but I'm also redy to other suggestions, too. On SibeliusMusic: Concerto for harmonium and orchestra in C, op. 11 Harmonium_Concerto.mid Harmonium_Concerto.pdf Harmonium Concerto.sib

Thanks for the interesting reviews. As for the tempo: 'cause it was written for an amateur pianist, I didn't wrote so fast tempi, but I recommend 120 for the preludium and 132 for the Passacaglia. As for the repeat mark in the first movement: 'cause it is in a very minimialistic quasi sonata form, that's why I added it. Anyways, it can be also skipped by the performers.

Preludium & Passacaglia in b for piano, marked as op. 9 or op. 7a on SibeliusMusic is a composition composed for one of my friend, who turned 19 this January. So that's why it is dedicated to her. So I tried to write a not so hard, but brilliant piano piece. The composition has two parts: a Preludium, which is in a style based on minimal music and baroque (mainly organ) preludes and toccatas, and a Scherzo part with little jazz influences. As you see, the Preludium part has a lot of common with the Allegro Assai movement of my Quintet, op. 7. This is because that movement existed first as a short piano piece (not 100% what you see here, but mainly that), which I arranged/edited later for the clarinet quartet. But the base rhythm of the second movement of this piece is based on an idea "stolen back" from the quartet... So because that facts, I gave both op. numbers 9 and 7a for this piece. Visit it on SibeliusMusic Preludium&Passacaglia.sib Preludium&Passacaglia.mid Preludium&Passacaglia.pdf

And what's up with revision of the second you promissed? :-)

I know I have hidden the beat structure, but the notes should be the same length. That's why I have written only 16ths. Anyway, I will think after a correct solution. (Maybe I'll mark that a staccatoed 8th is same length as a 16th.) As for phrase marking, I'm working on it. But I think it can be leaved to the performer, or not?

I've made the changes - please check the attachments in the first post.

Hi! 1) As it's a solo piece, you don't have to be striktly in time... I just indicated, that you should remove the sordino as fast as possible. 2) Ok 3) I know, but that was my will 4) I don't think so, but I'll look after. Thanks for the review, best wishes.

Hi! 1. As for transposing, the parts are transposed, I tought that's enough. Of course transposing is not a big problem if somebody is using a computer sheet-music program... 3. I didn't write any phrasing - I wanted to create the same effect as detas

This is my first composition finished in 2007. It's a short piece for 4 type of clarinets (namely: Eb, Bb, Bass and Contrabass) and this is my first try with minimalism (but they are mainly just effects from minimalism). This is my op. 7 on SibeliusMusic: Quartet (for Eb, Bb, Bass & Contrabass Clarinets), op. 7 Originally, it started as a piano piece, but it turned so complex, that it needed more instruments. There was a comission on SibeliusMusic for this instrumentation, so I transcribed it and wrote the other movements. It's a relative short piece - my shortest, I think. Quartet.mid Quartet.sib Quartet-transp.sib Quartet.pdf Quartet-transp.pdf

This is my op. 4 on SibeliusMusic. I think this is my first "major" work. Originally the 3rd movement was written first, but with a d minor ending, and with a more plain sonata-form-structure. This was in time near the writing of my op. 1, the 'cello sonata (written in completely Haydnesque style), end 2005-beginn 2006. That time this sound was strikingly new from me. After that the first movement was written in March 2006, since that only minor changes were made (eg. repeats, coda, etc.) The begin of the second movement was written in end April, but it was in e-flat minor. On that point the conception turned to a suite or partita with a lot of movement, but later, when I had no idea, I returned to my original conception. But then I transposed it to it's current key, c minor, because e-flat major was to away from both a minor and d minor & C major, too. After that were the third movement reviewed, making it more complex, and adding confriming the C major ending, what was from the begining an option. And in July, 2006 the first movement was reviewed and the second fully written. I was thinking on the title, after that it turned to be a C major Piano Sonata, instead of a minor, despite only the last 2 or 3 periods are in C. First I wanted to dedicate it to my friend, who is a quiet good pianist, but later I changed my mind, so no dedicating. The first movement is in a quiet classical style, with some exciting fugatoes and harmonies. The second tends to be original, with a Vivaldi-pharaphraze as the middle section. The third is a twisted sonata form, with very strange harmonies. I think it was inspired by B Zongoraszon Zongoraszon Zongoraszon