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I've gone back to this piece to look at patterns and structures in what I tend to make. So far I see simple melody but colorful chords and dissonance in the music, ostinato in the bass and syncopated rhythm throughout. The key signature in the sheet music is my best guess at what it might've been, but I do hear there might be modulations. I tend to move away from main idea but bring back the idea at the end or throughout. Lots of repetition, this may be something I should hold back on in the future. I am very interested to know why this song works or why it may not work. I have the feeling that the melody never rests on what might be the home note, which makes it sound ambiguous. I think. Thank you for listening. Feedback, if you wish, is greatly appreciated.

I'm not finished writing this sonata yet, but I have finished the exposition of the first movement. As you can probably tell by its nickname, the inspiration to write this sonata was Franz Joseph Haydn. This is my first sonata for a duet that actually has a finished exposition. I finished the exposition of the sonata in an hour. I know Haydn is humorous, so I tried to be humorous with my sonata. There are a quite a few surprises in the exposition that I wrote. Here they are: Bar 5: Sudden entry of the flute and absence of the piano Bar 6: Sudden reentry of the piano Bar 10: Short diminuendo, like the theme isn't quite done yet Bar 11: Short staccato variant of the theme over a syncopated bass Bar 14: Sudden forte cadence, theme is now finished Bar 15: Piano dynamic in transition material right after a cadence at forte, sudden absence of the flute Bar 21: Forte dynamic when transition material is taken up an octave, flute comes back Bar 26: Piano dynamic yet again, descending trill motive Bar 41: Very busy texture as the repeat comes closer Bar 47: Sudden change in texture, sudden dynamic change as it repeats I'm wondering, is my sonata exposition Haydnesque in its nature? I tried to get a Haydnesque feel to it by being more humorous than serious with the music. Anything impossible for the flutist? Does it feel like a Molto Allegro to you(tempo is at quarter note = 140 BPM)? Or should I just take the Molto off and just have Allegro as my tempo marking? The audio ends at about 2:51 in the MP3. I am working on the development section right now. Flute Sonata in Eb.mp3 Flute Sonata in Eb.pdf

Fifth nocturne. Maybe too repetitive but not completely sure. Please do give feedback if you have any. Thanks very much.

Hello everyone I don't think I've posted a piece here in a while. Here is a composition for Bassoon and Piano - the first I have written for Bassoon solo. What do you guys think of it?

The third installment (and middle movement) in the Icelandic Suite for Piano Solo. This movement is slow and poignant, often even lethargic. It relies heavily on quartal harmonies, diminished 5ths, and whole tone scales to convey a sense of listlessness and loss (my emotions, at least). The inspiration comes from deep mourning and melancholy, looking out on a rain-drenched day. I hope it finds resonance with your soul, too. Also, I'm not sure how I feel about the length of the piece. Bar for bar, it's shorter than the other two movements thus far, but the sluggish tempo makes it longer in duration. I tried to keep it interesting by modulating and varying the melodies/accompaniments, but I'm worried it may become too boring. I'd greatly appreciate your thoughts about this—and about the piece in general. Thanks, and happy listening!

Composition completed on 12/10/2016 You also can watch this piece here -

The second installment in this suite for solo piano. (The first movement is located here.) This movement, entitled "Dans," is not a literal dance; rather, it represents the rhythm that pervades this thing we call life. The work uses a lot of whole tone chords to convey mystery, and the rhythm is in an unsettling 5/8 time. There are passages of great unrest, confusion, joy, bittersweetness, loss—the whole gamut of human emotion. I tried to keep constant movement throughout to symbolize the onward march of life. As usual, this piece is impressionistic in style: quite tonal, but chord progressions are rather free, and the key changes many times. Try not to focus too much on the melodies, but rather on the imagery the piece evokes. It will take you places (hopefully!), especially once your inner metronome jives with the strange rhythm pattern. This movement contrasts a great deal from the previous one. It tends to lack a home key except in a few passages. There are less places to "catch your breath." And there is little counterpuntal material. But there are some similarities, as well, which I hope you will pick up without my giving it away. 😁 As always, I look forward to your comments/criticisms/suggestions. Happy listening!

This "Beginner's Piano Suite" marks my so-called '3rd Opus", which sounds so odd to say. (The idea of having an "Opus" sounds awful self-important to my ears, but at the same time, it gives a sense of beginning, middle, and end, and the thought of "I'm done with this, I'm moving on to something else" is liberating, so I really like that aspect of it!) Here's a little backstory. For one thing, I was tired of making pieces of piano music that were extremely difficult to play, and I have a fondness for pieces that are simple, straightforward, and "tell a story", so to speak. So I tried to tone down virtuoso writing as much as possible, and focus on "what" I wanted to say, instead of "how" to say it. I took some inspiration from the idea of video game music, thinking of a scenario or character and having that be what started me off. Most of them are played at a really slow tempo, which is inherently easier to play. A couple are more up-tempo, and probably offer the greatest challenge. Some sections may be tricky, and might be cheating to have in a "Beginner's Piano Suite", but I did my best. It's not a very long suite. There are seven pieces, and to listen to all takes maybe 15-20 minutes or so. Here they are: https://app.box.com/s/3i5d36uhkfwmd0gj5b84jmqplhoioebp [Op. 3 No. 1, "Dawn's Lullaby" WAVE File] https://app.box.com/s/0ecvpduruu110pa9ukksgty2bqmlt8jx ["Dawn's Lullaby" PDF] https://app.box.com/s/9rknasfzt22sdm8kcqx1ot7jzq7ei9y7 ["Op. 3 No. 2, ""A Lamentation" WAVE File] https://app.box.com/s/nfclmphylif5ztavoq7t1d5h5p6y6ifq ["A Lamentation" PDF] https://app.box.com/s/csiounws38ep6waojlityorrdofgt3z1 [Op. 3 No. 3, "Cynical" WAVE File] https://app.box.com/s/rrdfpfkmwortupqtqb1hqh581u16kevb ["Cynical" PDF] https://app.box.com/s/oa840nl7vfyadcv3ey0302fwotrar8h3 ["Op. 3 No. 4, "The Fireplace" WAVE File] https://app.box.com/s/p8haj6opgevr8g90v2i0z9b2qitdxxz9 ["The Fireplace" PDF] https://app.box.com/s/yumtrw9w5rlppww2pi5m0dix24a206jg [Op. 3 No. 5, "Resistance" WAVE File] https://app.box.com/s/fg5mr8o4x6ydnsloqp5q6a82vcrgcz09 ["Resistance" PDF] https://app.box.com/s/5ilpdnvqx27gyj05l7atnyc3d9ar414c [Op. 3 No. 6, "Remembrance" WAVE File] https://app.box.com/s/vgaadllbnc1izmm7meits7vzom2x9rmc ["Remembrance" PDF] https://app.box.com/s/tv8akqk6i409ibxz3i5187571syxwpjn [Op. 3 No. 7, "Adagio" WAVE File] https://app.box.com/s/qhompslta6x3wzh1owzj2a6g7tu74a2m ["Adagio" PDF] Thoughts/comments/criticisms all welcome. Thank you!

Composition completed on 05/18/2016 You also can watch this piece here -

Hi guys, would like to now what you think about the composition. Its hard to say in which direction it realy fits, I would say ambiental-classical. DAW: Cubase 10 Elements VST Instruments: Arturia V Collection, EW Steinway Piano VST Effects: Fabfilter Cheers!!

Hello, I'll be very glad if you check out my song and tell your opinion. https://soundcloud.com/selcukozer001/a-rose-in-winter

Play On.mp3This is a piece i wrote two years ago. Found it in my google drive randomly recently. Going to try to transcribe it though I don't have my keyboard any more. Made me wanna take lessons again! What do you think? What could be worked on?

This was written in November 19, 2012. I was quite prolific and experimental in writing music during 2012-2014, and while I was just playing around with melodies along the higher register, I decided to write this one out. While this one's a very short piece, it was among the very few ones that were actually completed, so I wanna share it to the forum. Hope you like it 🙂

Composition completed on 05/09/2016 You also can watch this piece here -

Hello everyone, I am back, this is my new piece of music, hope you like it, and welcome your commentation.

I am currently working on arranging some more Mozart sonatas since unlike Beethoven sonatas that seem to get me overwhelmed, Mozart sonatas never do that. A few people suggested that I shrink the quartet into a trio in my K 545 arrangement to get a more full sound. I didn't though because save for the second movement, where I would have to do some harmonizations, I saw and heard 4 melodic voices, 2 per hand in the sonata. However, I did find a sonata that Mozart wrote 4 years before his K 545 sonata that I figured would be perfect for a trio arrangement, his Piano Sonata in C minor, another well known sonata of his. I noticed that the first movement tends to be where I get the most arrangement mistakes. A few of the triplet passages, I took up an octave to avoid the cellist having to do double duty. The violinist playing eighth notes over a sustained quarter note is one thing, The cellist having to do triplets while sustaining a whole note is a totally different story and is an impossible task. Thus, I took some of the triplet passages up an octave. The triplet passages that I took up an octave all involve a cascade from the violin to the viola before the cello becomes the solo instrument for a while. Except for these triplet passages that involve the instrument cascades, I kept everything in the original octave unless it got too low(which was rare) and then of course I would raise it by an octave to keep it in range. I missed a few slurs here and there, I will fix those in the second draft of the first movement arrangement. In the development section, I tended to have the staccato figure in octaves because it was in octaves everywhere else. Even the Coda still had it in octaves, just scattered a bit. Bars 1-185 are all the bars of the first movement. This is what I want feedback on. Are there any impossible double stops in there? Is there anything I can do about the dynamics to make it sound better? I would love some detailed feedback on what exactly I did wrong so that I can improve the first movement arrangement, and maybe have the entire second movement arranged at the same time(That did happen with K 545, I got feedback on the first movement, I improved the first movement and finished arranging the second movement at the same time). Here is what I have arranged so far of the sonata:

Composition completed on 08/04/2016 You also can watch this piece here -

Composition completed on 01/19/2016 You also can watch this piece here -

Composition completed on 05/08/2016 You also can watch this piece here -

Here is the piano march I composed Roberto Zini - Marcetta Sostenuta I hope you like it.

Here's another (re-upload) composition. I wrote this around December 2011 and edited in 2012 to a more pleasing and playable form. Just having fun with polka-like themes and whatnot. At first, I gave it a title "Polcharima" just for fun, but later renamed it to "Polka in D". Hope you like it 🙂

A short piece for violin and piano 🙂 Sounds very classical. I also got a little limited by my poor knowledge of keyboards… One has to practice … 😉

Composition completed on 01/04/2016 You also can watch this piece here -

Attempted a section in an odd time signature. Trying to combine the middle section with the rest of the piece took ages. Please do give feedback. Thanks.

Composition completed on 01/25/2016 You also can watch this piece here -