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It's been a while since I've posted anything here. Anyway, this is supposed to be a prelude (to an as of yet incomplete fugue), though it likely is significant enough to stand alone, unlike my previous preludes. For those who have listened to my previous works, this piece has considerably more classical/early romantic style harmony (as opposed to strictly baroque). Interestingly, I started this piece as an attempt to demonstrate how to properly use (and most importantly exit) long pedal points in the bass. I encourage everyone to try and find the common pattern between all of the pedal points in this piece.

Here you have my last composition. I crafted both preludes without the use of a piano or any other tool. Only pen, paper and my harmony knowledge were used. I challenged myself to do it this way because they are dedicated to a friend of mine who is a colorblind artist, and that reminded me of Beethoven. Both preludes use the harmonic minor tetrachord between the V and I degrees. I also make a heavy use of augmented sixths and phrygian inflections. It is probably my best composition when it comes to quality/length ratio. And it shows where my harmonic tonal limit is without the help of a piano. I hope all of you enjoy these creepy miniatures. 🙂

Thanks to @PeterthePapercomPoser and @luderart for the ideas in this. It was my first dabble at using the mystic chord and a #4b7 mode, as well as trying out a short undeveloped form. I like the result, and hope you do to.

Hi everyone. Gosh it has been lightyears since I sat down and actually wrote a piece. (lol) Background of this composition: I wanted to capture the same musical energy and vigor of the WTC preludes. Simple and elegant! Thus, the first thing step, as always, I wrote down a simple idea that would flourish with in the composition as a whole. You may notice that there are hints of chromatics (here and there) and inversions of other harmonies. (I wanted to use 9th chord and 13 chords, but they were not used in this period). I am rather pleased with end result.

It's that time again. I may have gotten weird with the score.

probably my most complicated work so far, and took me over a month.

I wrote this in 15 minutes, and you can definitely tell. I hope you like it though! I tried playing around with some interesting rhythms in this but I hope they don't detract too much from the actual piece. prelude.mp3

Four fugues and 3 preludes (or whatever these can be called.) The counterpoint and style is mostly quite free, I took a lot of liberties with harmonies and voice leading if I thought it was interesting, so there's inevitably going to be parallel motion, but I think I'd rather take that than make it bland. It's been quite a long time since I've written this kind of music so it was really refreshing to go back to "my roots" and have fun with it. As for technical matters, the subjects for the fugues, save for the first one, are strange on purpose. Specially C minor and the second double fugue subject in the D minor fugue. I mean, they're workable, but I'm constantly harmonizing "against" the subjects, so this leads to some pretty fun moments like a subject that's supposed to be in G minor tonic being harmonized in Ebmajor, stuff like that. It was pretty challenging to get all of this done and stay somewhat inside the style of instrumental counterpoint that I like. The double fugue in D was hard to write and it went on for longer than I had anticipated, even after cutting all the fat. If there's something I realized when writing these things is that I have very little tolerance for sequencing that is there for the purpose of padding out the runtime of the piece. So I try to never sequence anything more than 3 times, and I will vary the amount between 3 and 2 depending on context. It's one of the trappings on the style and I understand better now a lot of composers that worked in this style post-baroque times, specially within the context of a sonata's development episode vs the way sequencing is used in a fugue. Combining both things is very difficult from both a conceptual and technical point of view. In fact, I grouped these fugues together (I wrote them in sequence within the span of 2 weeks or so) and in the end I feel this is also sort of, kind of, like a sonata. Even if there's no "sonata form" in these, but then, I get the feeling that the DNA of the thing is more leaning in that direction than something like Bach. I purposely avoided reusing countersubjects when I could help it, too, as to give myself more freedom to write whatever was more appropriate within the context of that moment, but that also has the unintended side effect that the whole thing feels a lot more complex than it really is (certainly felt that way when I was writing it.) I get the feeling that a lot of the typical baroque counterpoint conventions and traditions end up being shortcuts to pad out time, so I kind of didn't want to use them. If anything was too "automatic" I would cut it and rewrite, and I did this the entire time when writing. I have no idea if that's something audible, but well there you go. As for the score, it's not completed yet. All the music is there, but I need registration markings and a bunch of other things that I'm not going to write until meet up with the person who will be performing these, so we can work out the details together at an actual organ. It's easier that way. Edit: Guhhh, fixed IV's key signature to something sane. oops. 01-fugue in e.mp3 02-fugue in h.mp3 03-fugue in c.mp3 04-fugue in d.mp3

This piece was mostly an attempt in improving my harmony beyond what is conventional. Constructive feedback is most appreciated and welcome.

2nd Prelude. Constructive criticism is most welcome.

This is a piece that I wrote when I had just started out composing. And yes, this piece is inspired from Bach's WTC. Any constructive criticism is welcome and appreciated.

Hi! Here are two preludes I've written (working on more). The G minor was written improvised and bears some resemblance to the Chopin Prelude in E minor. The E flat minor was an old sketch that I went back and revisited. Feedback would be wonderful, as it helps me improve my own writing.

Short piece with 3 flutes, 3 clarinets, 3 bassoons, 4 french horns, 3 trombones, timpani, harp, 3 violas, 3 cellos. It is based on Messiaen's mode 2 and quartal/quintal harmonies, and several techniques of mass sonority (Ligeti, Xenakis, Penderecki, et...)

One of my more 'serious' piano pieces. It's probably fairly obvious to any classical fans where I got my inspiration for it. I think I've still managed to give the piece its own distinct identity, though. I feel like this is one of my more technically accomplished pieces – but I'm sure there's still lots of room for improvement. Happy to hear anyone's thoughts!

this is my new compisition, hope you like it. video: https://www.bilibili.com/video/BV1Pf4y1178o/

Here is the fifth prelude in my set. A very virtuosic prelude. as I view D major as the virtuosos key. also quite heavy and at least in my opinion fun to listen too. Please leave thoughts down below 🙂

My sixth prelude in my set of each key. Another virtuosic prelude which is more unstable but still tonal. featuring twists and lots of chromaticism.Prelude in D minor.pdf

Below is the fourth prelude. my prelude in C# minor. I view C# minor as a very unstable key. no idea why and I tried to reflect that in this piece. Leave thoughts down below much appreciated 🙂

Another prelude in my set of 24 for each key. A very short one this prelude capturing my interpretation with C# Major. short and too the point but beautiful while it lasts. please leave thoughts down below.

This is a prelude I am working on, and haven't finished yet. I hope you give me ideas to complete it.

hey I'm undertaking a project to write a short prelude in every key, please leave thoughts down below and any feedback is welcome.

I have finally completed this piece - No. 3 of 'Pieces for Pianoforte' Op. 21 - after months of composer's block. I initially intended to write an upbeat piece in the key of C major that continues the East-meets-West theme (a Scandinavian halling dance with a Chinese-style tune). However, due to the development of recent global events, I have found myself sinking into short (but intense) episodes of despair. And so, I shelved that piece, finding myself unable to sincerely work on the piece. And I wrote this: a prelude in the key of A minor (ending on its parallel major, A major). Stay safe and healthy, guys! Take care! Attached: PDF score & MP3 rendition from MuseScore. YouTube link for live performance here. The YouTube video is accompanied with the score as well.

Hello everyone, I am back, this is my second piano piece of microtonal music, hope you like it!

Hello everyone, I am coming back, this is my new piece, hope you like it

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