J. Lee Graham

Beautiful. It's hard for me to remove myself from the wonderful Bogoroditse Devo by Rachmaninov, with its ancillary expectations, but once I did, I just let this wash over me, and I enjoyed it very much. Very nice performance too, by the way. It's so good to see new music being written for the Russian Orthodox liturgy again, after a more than a century of silence.

A friend of mine sent me the following link this afternoon, regarding the impending demise of Finale, a music notation software platform I know many of you use. https://www.finalemusic.com/blog/end-of-finale-new-journey-dorico-letter-from-president/ I'm as broken-hearted about this as if I'd lost a family member or beloved pet. Users will be able to get support and the ability to install Finale on a new machine for a year from now, but after that, you're on your own. Finale will still run, but you won't be able to reinstall it on a new computer if you get one. They're recommending Dorico as a replacement. You'll have to export all your Finale files to a file format that Dorico will recognize. Dorico Pro, the highest tier they offer, will be available to Finale users for $149.00 for a limited time. There is also Chopin's notation software available here on YC, and Sibelius. I've been using Finale for more than 25 years and I can hardly imagine learning a new software at this late date, but I guess I'll have to. We all will.

I have done both - revision and abandonment. Most of my music written when I was young I have left alone, finished or not, regardless of their state of proficiency, because I consider it juvenilia and a record of who I was as a composer at that time. More recent works I'm more liable to revise as I learn or get better ideas. In any case, I don't regret anything I've done, except when I wasted time on things I wasn't ready for, such as a Mass setting when I was 12, and an opera at 13...both disastrous failures. I was definitely not ready, and I figured it out the hard way. I never made the mistake again, staying small and relatively simple all the way through high school and into adulthood. But even in my early 20s I was learning and making awful mistakes. I look back at my 1st symphony now, which was even performed, and I shake my head. It's terrible...good ideas, but very carelessly handled...the result of being a complete autodidact in composition. I heard once a saying that "he who always insists on teaching himself has a fool for a master," and I can definitely see the truth in that. But I had no one to teach me, and I wasn't about to sit on my hands waiting for someone to come along, so I did my best on my own. I don't regret a note of it, even if a lot of it is bad.

I'm in agreement with the previous posters. I think its a bit too soon for you to be composing something as grandiose as a piano concerto (incidentally, I've been composing for many years, and I still have never written one, because despite my experience, I know I'm not ready). I differ with Awsumerguy only in that the kind of bravery it takes to attempt something like this is surprisingly common among inexperienced composers, and more is the pity. Try your hand at some simpler things for a while. You'll actually learn more, and success feels a lot better than setting yourself up to fail. Seriously, good luck with your composing.

The story goes that Mozart was visited by a prospective student one day, who told the Master, "I want you to teach me how to write a symphony." Mozart said, "I think it would be best if we start with something simpler first, like Minuets." Indignant, the student retorted "But you were writing symphonies when you were 8 years old!" Mozart calmly replied, "Yes...but I didn't have to ask how." The moral of the story is: do yourself a favour, and start small, especially if you're teaching yourself. I have been a member of YC for many years, and I have far too often seen young composers here with either little or no experience composing, trying to write symphonies, piano concertos, full string quartets, etc., things far too ambitious for their level. This is a waste of effort, more often than not. Start smaller, and build a foundation of experience upon which to build bigger things when you're really ready. Happy composing!

Listen to and study Alexander Borodin's "In The Steppes Of Central Asia." I've never heard more descriptive desert music.

Well, I did remove 8 measures that seemed superfluous in the last movement. It was like giving it an appendectomy - removing something not needed that had been bothering me (thought unlike with appendicitis, without me really realizing it). Now the movement feels balanced.

HI @Henry Ng Tsz Kiu - just a little more of a response to your kind review, for which I thank you. It's interesting to me that you found these parallels with specific Haydn and Mozart works, and I appreciate your observations. You mean at the beginning of the Trio, I assume. I like the interplay between the oboes and bassoon I. Ah, I'm glad you liked that. What did you think of the rest of the movement though? I'm curious because to me, it is one of the most beautiful and well-constructed slow movements I've ever written, highly informed by Mozart (parts of it are reminiscent of the slow movement of the G minor Viola Quintet). Thanks for all you said about the last movement. I'm considering revising it, not sure yet. Thanks again, Henry!

@SergeOfArniVillage Thanks very much for your generous compliments! I find that the Ragtime form assists with making the product pretty tight. It's actually a lot like writing a Menuetto, only even more strict. Ah, well I'm glad you think so. I've always found Ragtime wonderfully tuneful in its way. Thanks again for your kind review!

@Henry Ng Tsz Kiu Thanks for listening to and commenting on my piece! I'll respond at greater length later! 🙂

@PeterthePapercomPoser Thanks so much for taking a few minutes out of your day to listen and comment! I'm glad the effect worked according to my intentions! I'm disappointed that you didn't find it particularly tuneful (in the best sense), but I know what you mean about ragtime melodies being more pianistic than singable. I suppose the best a lot of them can hope for is that they're catchy. Ragtime is primarily dance music, though it was surely used as parlour and saloon music. I'm gratified that you liked the harmonic movement of the piece as well. Thanks again for your time and kind words.

@Thatguy v2.0 OMG, how did I manage to miss your comment!? Thanks for your kind words. I'm very gratified. I'm also very glad that the mysterious element came off well. I'm not quite as happy with NP's piano sound as I am with their other instruments, but it sure beats Garritan and MIDI. I'll have to lookin into DAW. I'm flattered that you looked around at my YT page - there is surely a ton of stuff over there now! Sticking around is the idea, though I have a new job that is keeping me crazy busy, which is why I haven't been around as much as I'd like. I'll keep trying. I'm working on my 10th Symphony at the moment, when I can squeeze out a little time and energy. Thanks again! Oh, and I LOVE your new signature! It's like a Grindr profile! Hahahaha!

@HtWinsor Thanks very much! It is rather playful!

As I may have mentioned before, one of my specialties is writing for unusual combinations of instruments. Here I have written a four-movement quartet for a rare ensemble consisting of 2 Oboes and 2 Bassoons. I tried to make all the parts as equal as possible. I realize much of what I've written is challenging, but I have shown this piece to professional musicians who have assured me that there is nothing here that is beyond the pale. The opening movement is a standard Sonata-Allegro. I reversed the traditional order of the inner two movements so that the Menuetto is second, and the Adagio ed affettuoso is third in order; I feel this Adagio is one of my better slow movements, owing much to Mozart for its styling. The final movement is unusual in that it is a sort of fugal Sonata-Rondo, with chromatic contrapuntal sections interspersed with contrasting material. ***** Quartet in A minor for 2 Oboes and 2 Bassoons (2019-2021) - Composed: December 27, 2019 - April 6, 2021 at Austin - Style: Classical, ca. 1790-1800 - DuratIon: 24:30 I. Allegro non tanto ma con fuoco (00:00) II. Menuetto: Allegro (08:20) III. Adagio ed affettuoso (12:10) IV. Tempo giusto alla breve (18:35) - Electronic Rendering by Finale 26 music notation software "Human Playback" with NotePerformer 3 artificial intelligence assisted interpretation.

Sorry guys, it's been a busy time - brand new job, long hours, even working Saturdays! @Henry Ng Tsz Kiu Thanks very much for your compliments! I have always thought of allargando literally (broadening, but without any dynamic implied), as distinct from ritardando (slowing down). I could possibly use calando, but it's not very correct for this period, better for Classical style (Haydn used it a lot). I'll think about it. @chopin Thank you too for your very kind comments! The counterpoint in this piece is what I'm most proud of. Haha, I know what you mean. Even NP can't do everything perfectly, and choral/vocal sounds are the hardest to get right on a computer. Thanks again guys!

Here is probably my best choral work, my motet "Vidimus stellam" in 5 voices (SSATB). I would describe the style as Late German Romantic Emulating Stile Antico, ca. 1875, for lack of a better term, and the work is dedicated to the memory of Liechtenstein-born German composer Josef Rheinberger (1839-1901), whose choral music is similar in style. This motet is for the occasion of the Feast of the Epiphany, traditionally celebrated on January 6, the 12th day after Christmas in Western Christianity, which among other things commemorates the coming of the Magi (wise men) from the Orient to pay homage to the infant Jesus. The Latin text translates: "We have seen His star in the East, and are come with gifts to adore the Lord." I made extensive use of counterpoint in this piece, especially in the climactic middle section. I hope you enjoy! Vidumus stellam - Motetum 5 voci – Communio, Epiphania Domini - Composed: October 27 - November 11, 2016 at Austin; revised September 3 - 9, 2020. - Premiere Performance: January 8, 2017, Epiphany of Our Lord (observed), by the Schola Cantorum of St. Mary’s Cathedral, Austin, Texas – Dr. Jeffrey Jones-Ragona, Director of Music. - Style: Late German Romantic emulating Stile Antico, ca. 1875. - Text: Communion, Proper Mass for the Solemnity of the Epiphany of Our Lord (January 6) - Language: Latin - Duration: 03:30 - Electronic Rendering by Finale 26 music notation software’s "Human Playback" with NotePerformer 3 artificial intelligence assisted interpretation.

@Henry Ng Tsz Kiu, you're a very good composer - just maybe not a particularly fast one. Don't worry, it's not a race!

@Henry Ng Tsz Kiu Thanks for listening, especially since you don't have much exposure to Ragtime! I suppose there will almost always be Classical elements in nearly everything I do. I'm so steeped in it, how could it not? I'm glad the creepy feeling came through - the chromaticism is actually somewhat unusual for Ragtime, but it well expresses the mystery I was trying to portray. I wouldn't have expected this reaction, but I'm glad it amused you! Thanks again!

@chopin Thanks for giving this a look/listen! I'm really excited that you're so jazzed about it! I didn't know this about you! I just always assumed Chopin was your first love. Yup, once the key changed in the Trio to the relative major, and later to the enharmonic major, I couldn't possibly keep Joplin's influence from sneaking in. No Bolcom here! Interesting you mention the Magnetic Rag - it's one of my favourites, and the only Joplin rag I can play; it's significantly easier than many of the others (probably because by 1914 when it was written, Jopliln was suffering terribly from tertiary syphilis, which interfered seriously with his playing ability). Anyway, I'm gratified you sensed The Master looking over my shoulder. Ah, the ending - my favourite part of the piece. I wish I could say I had any ulterior motives of captivating the audience, but I just couldn't seem to let it go where it may have seemed to "want" to, as you pointed out. It was a pure stroke of inspiration, from the chromatic descent at measures 97 and 98, to the purposely muddy penultimate measure, to the last, where it all grinds to a satisfying halt; all this is a convenient four measure phrase, making it all the more rounded off. I'd be honoured! Just let me know when you're ready, and I'll get you a MIDI. Thanks again, and I'm so glad you enjoyed this!

This is a very dreamy, relaxing piece, just what I needed right now, actually. I like the modern yet fully tonal harmonic palette. The deceptive cadence at 63 is magical, as is the coda. Very nicely done. Nice performance too!

Absolutely charming! There is an almost waltz-like quality about much of this piece, which I love. The maggiore section has an almost old-time, turn of the 20th Century American air about it, which I also love. Wonderful coda at the end too, which wraps everything up very nicely. Well done, and what a lovely performance!

Here is the corrected and revised, hopefully final version of my Variations. In it I corrected a voice leading error and divided the solo line Var. III between Bassoon I and Oboe I, rather than overtax Bassoon I with the whole thing. Incidentally, my husband said of this piece that he couldn't imagine how it hadn't been the music for a Tim Burton film! Ha!

@chopin Thanks very much for your generous comments! I do use NotePerformer, and it helps a lot, but I still believe in articulating a bit more than my models did, not only because machines don't always "know" how to interpret the Classical style, but because it's not a given that all musicians do either - at least not to the extent that I want to dictate. My dynamics are often very specific too, likewise. That sequence at 3:46, and the corresponding one later in the movement, are among the most satisfying moments in the movement to me, and I'm glad they moved you as well. The second movement is almost unique in my expressions. It was indeed intended to be a bit more proto-romantic without overdoing it. I honestly don't know where the inspiration came from. That you hear Chopin and Tchaikowsky's influence (Mozartiana Tchaikowsky, that is) is all the more gratifying, especially in the way I handled the woodwinds at 8:37 and similar places. Thanks again! By the way, I'm still looking for the CD from the premiere - I seem to have mislaid it temporarily, but it will turn up.

Ah blast! I just found hidden parallel fifths in measure 7. Just goes to show, no matter how long you've been at it, you can still make mistakes - and besides, the more parts you're writing for, the looser the rules get. Still this particular spot I think needs to be corrected. I might record a corrected and revised version of this piece and post it soon, we'll see.

I don't always write in Classical style, and this Piano rag is proof. My friend Bernie Siben told me he very much enjoyed William Bolcom's "Ghost Rags," especially his "Graceful Ghost," as have I, so I thought I'd write my own somewhat creepy, mysterious ragtime piece, and this was the result, hence its name. It's challenging to be sure, but I have it on good authority from two virtuoso pianists that it's doable. I hope you enjoy! "Enigmatic Slow-Drag" - Ragtime Two-Step for Piano (2020). To my friend Bernie Siben, with gratitude for his kindness and support. - Composed August 17 – 23, 2020 at Austin. - Style: American Ragtime, ca. 1910-1915. - Duration: 05:32 - Electronic Rendering by Finale 26 music notation software’s "Human Playback" with NotePerformer 3 artificial intelligence assisted interpretation.