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Thank you!

Thank you for watching! I wonder too.

Thank you for watching! That's an interesting opinion.

@karlolewandowski Thank you for the reply ! But I do want to know Did you really use any mediaeval/folk sounds ?

@@Swaroque Thank you for the reply! Neither sound is conscious. However, one thing that comes to mind is that it's inspired by Mussorgsky's works.

Thank you for watching! Glad you like it.

Thank you for watching and allowing! I felt the influence of Chopin's style in mind for the entire variation. Glad you like it.

Thank you for watching! The title "Sketch" is one of the so-called character pieces. In other words, it's complete. I'll watch your challenge soon.

@karlolewandowski Hello Thanks for the reply. I really enjoyed this piece. Got some dance references. I have not posted my Sonata (for piano) or the duo which are pending corrections with the accompaniment part. I will be honoured if you check out my latest post. This is a VIOLIN-PIANO piece. Begging forgiveness in advance for any mistake and Thanks to you again 🙏.

Thank you for watching! I'm frankly happy because that's the part I was particular about.

Hello, at least I'm alive

Thank you for watching! I used fugato based the second theme in development section (partially double fuga).

12:15 really puts me in deep thoughts.

Hello, nice to see you here. Please upload your music. I also want to know something, what do you call counterpoint which is not fugue?

Thank you for watching! Glad you like it!

@@karlolewandowski I can't imagine this level of composition mastery. Do you have official training of Classical Composition?

@@Swaroque Thank you for the reply! No, self-taught.

Thank you for watching! Of course, no problem. If you need to share a PDF of the score, please comment.

Thank you for watching! My understanding is that both notations are used in music.

@@karlolewandowski OK, in this case it may be that ‘leggiero’ corresponds to a spelling from past centuries.

@@sirio60 Thank you for the reply! I understood your opinion. I'll do some research on my end.

Thank you!

@karlolewandowski Hello actually I just remembered you can make orchestral version of this music, with timpanis and ..Strings and Winds. It will just sound fantastic.

@@Swaroque Thank you for the advice! I've composed an orchestral piece once in the past, but have concerns about orchestration. Therefore, I'll take some time to think about it.

@@karlolewandowski Ok actually I have something like sugar plum fairy ( by Tchaikovsky), then three or four sources which might help you to do orchestration , it's your original work. it would be a world class piece.

Thank you for watching! Tarantella is a fast-paced dance of Italian origin. It's my impression that most of them are in ternary or rondo form. I attach the URL of Wikipedia for your reference. Please note that this piece of mine isn't composed in the typical tarantella rhythm. en.wikipedia.org/wiki/Tarantella#cite_note-Blatter-1

Thank you for watching! I didn't understand the intent of your question, could you please elaborate?

The time is 0:18 I meant what's the chord changes their? Sounds very surprising.

@@Swaroque Thank you for the reply! I understood. The contrast between Fm and F#m in measures 17-20 is simply to make the piece stand out. The tune progresses to bar 20 based on the phrase in bars 9-10, but the chord progression is the same from bars 9-16. I could have used a similar progression in 17-20 with the key lowered 2 degrees, but I decided this would be redundant and not the best solution for this piece. Therefore, I decided that here I needed a progression that would surprise the listener (as you were surprised).

@@karlolewandowski Hello thank you for your reply. I don't understand music at this level yet, actually I'm trying to make a Sonata and a String duo next for upload later... on the musescore software. It might have some errors.

@@Swaroque Thanks for your reply! I think the treatment of phrases in a piece is one of the areas where a composer's individuality is manifested. My case this time was exactly like the above. I think you can find the balance by listening to various works (including works other than your own), studying theory and composing (I'm still searching for it...) I look forward to the sonata and the string duo! I support your challenge, both in terms of composing and in dealing with software!

Thank you for watching and the advice!

Thank you for watching! You got me!

Thank you for watching! I post the URL here drive.google.com/file/d/1sMPf7T295hNoXCEiA9r1E5hLKHZ0-VbR/view?usp=sharing

It is difficult to answer... I'm the type of person who comes up with melodies and accompanying harmonic ideas at the same time. Most of the works I upload are simply notated versions of what I have created in my head through this process. For example, regarding this piece, I came up with the first five bars after listening to your improvisation. The rest was basically assembled (in my head), notated and refined according to the fugue technique. Therefore, this may not be helpful... Melodies are often conceived while improvising and playing the piano, as you do.

I would like to add that you may think that the question and the answer do not mesh, so I don't have any particular experience in learning how to compose music, since I've been doing it this way for so long. If I had to say, I would say that I've been learning about theory of harmonics at a rate that would make a slug crawl.

@@karlolewandowski Hello and Thank you for your response. I've not yet learnt to compose things on the things like musescore and such, I improvise a bit, the two things look very different. Guess when I start writing music I have to start with nursery rhyme varations haha I imagine it is a ...feedback process. Improvise then write, write then play...repeat. Also on the thing about Fugues, I respect anyone that can write a fugue, because it requires hard study analysis of all the work of predecessors. I imagine with our busy life 2 year will be spent just learning the rules,then analysing older works 3 years,such a difficult process and the thing is, it's mathematical. I can recognise that part.

@@Swaroque Your response suggests that I took your comment with a slightly different nuance. When I started composing, I wasn't using a program to write...(If you like, you can see a part of handwritten score in the community of this channel). However, I think it is very important to play, whether you are working with programs or composing. As for fugue, as you say, theoretical study and analyzing the works of past composers is certainly important. However, trial and error is equally important. This is my opinion, but it is true that composing a fugue requires a high level of musical skill, but I think it is problematic to get so caught up in difficulty that you don't try to compose one. One thing I would like to say about this piece is that your motif is very appealing to me, and I couldn't think of any other way to convey that appeal than with a fugue, so I have chosen to do it this way.

Thank you for watching and the advice!

Thanks!

Thank you for watching! I'm glad you're pleased. I'm sorry that the mention didn't seem to work...

Thank you for watching! I'm also in the process of learning this field. I do my best to compose better pieces!

@@karlolewandowski That's great ! Composing Western Classical in this century is brilliant.

Thank you for watching!! Triste is a word meaning sad. I chose this subtitle because I composed this with a single motif, resulting in a melody line that sounds like a sigh.