Hold my hand
And jump with me out of the 7th floor of Hell
Hold your stand
Then drop your body, they won't be able to tell
There's nothing more to lose
The only time I had to use
Now's dust and sand

Go against
Every single thing that stands in your own way
Hold my brain
It's twisted, broken, it will never work again
There's nothing more to lose
The only time I had to use
Now's dust and sand

Fading landscapes
I regret every second I looked outside the window
Making mistakes
Now I'm dead and you are just a widow Just let wind blow

Widow REMASTERED

Fugue for 6 parts in the Hindu scale. Remastered with Musescore 4's new sound library.

Fuga a 6

Fugue "Hindi" M.M. 15 (remastered 2023)

Fughetta in Fm M.M. 53

Fugue in Gm "Ignis" M.M. 54

This Prelude and Fugue has been composed, arranged and produced for string ensemble (violins 1, violins 2, violas, violoncellos and contrabasses) or strings orchestra, in the tonality of D minor. It could also be easily adapted for string quartets.

The prelude consists of a slow, initially tedious, mellow canon to be mostly executed by the soprano, alto and tenor instruments of the strings orchestra. Basses and Contrabasses would simply accompany it with a simple basso continuo. It's supposed to be, as the name "prelude" suggests, an introduction, hence why I made it less objective and more misterious.

The fugue that follows is to be performed by all 4 voices. In contrast with the previous section, its tempo Allegro lits up the listener. The fast-paced assertiveness it conveys gives away the sensation of hearing a complex machine while it's spinning; quick, but effective and orderly. All that of course eventually starts breaking loose and dying off near the end, which is when the machine gets shut down.

Prelude And Fugue in Dm M.M. 58

I've written a lot of pieces for strings so far, but never really took the time to devote myself to compose anything serious for string quartet. Now I did and it paid off. Some aspects and qualities of the sound string instruments produce are only perceivable in this more reserved ensemble; it makes it possible to appreciate more textures and nuances.

The piece at hand is made up of three parts: 
Overture: a short opening, in a French baroque-like style.
Adagio: a melodramatic, bitter, almost hurting slow piece of music.
Fugue: a very fast-paced contrapunctal and polyphonic piece with characteristics borrowed from many inspirations, such as J. S. Bach and L. van Beethoven all mixed up in my way.

Overall, it's not clear to me that the sections in this piece follow any logic or model, but I guess it can be appreciated in its peculiar way. I'll almost certainly compose more music for string quartets in the future; it's not a very complex ensemble that's full of all kinds of instruments (some of which you don't even know how they work) so that facilitates the process.

String Quartets

String Quartet n.1 in G minor

String Quartet n.1 in Gm M.M. 59

Took me a while to finish this one as the intention I had for it was to dive somewhat deep into new ideas, while at the same time pleasing my inner sense of progress relative to some of the previous pieces of music I wrote. As always, some aspects of it I can tell are actualy new or improved, some (or most) of them are the same. After all these years of being incapable of detaching myself from this style, or if I do it lasts no longer than a hiccup, I guess that's just who I am, and that's unlikely to change.
Anyways, here you'll find a Prelude, dark-melancholic vibes, but occasionally you'll get a surprise. Then, a fugue, in which I explore some new rythms (new to my work, to be clear), a more interconnected structure achieved by using and reusing relevant motifs/themes/subjects and experimenting with timbres I found interesting, such as the bartok pizz, harmonics and nonvibrato.

String Quartet n.2 in E minor

String Quartet n.2 in Em M.M. 60

I was starting to miss the sound of a good harpsichord.

Pieces for the Harpsichord

Toccatina for Harpsichord in E minor

Toccatina for Harpsichord in Em M.M. 61

Another short piece for this lovely sounding harpsichord. In the overture I try to explore the harmonic aspect of the instrument. The fughetta is, as the name suggests, a little fugue, just for fun.

Overture and Fughetta in F

Overture and Fughetta in F M.M. 62

Allemande and Fugue in A minor

Allemande and Fugue in Am M.M. 63

Fugue in Dm M.M. 58 (organ transcription)

simple etude in c I wrote on paper years ago and decided to transcribe it to musescore only now

Etude n.1 in C

Etude n.1 in C (2016) M.M. 64

Thanks to @myopus for making this sound amazing!

Fugue in Dm M.M. 58 - (audio produced by @myopus)

Fugue in Cm M.M. 65

Fugue in Em M.M. 66

Fugue in Fm M.M. 67

Prelude in F#m M.M. 68

Fugue in Am M.M. 69

Horizon Fulgens M.M. 70

Prelude in G#m M.M. 71

Fugue inspired by famous brazilian tune "Borboletinha".

Fugue in C M.M. 65a "Borboletinha"

This Concerto for Orchestra is part of my new musical line of thought, in which I explore other techniques than what I'm used to, such as atonality and minimalism. I was guided by multiple goals in composing this piece, some of them being my wanting to see how pleasing (or unpleasing) of a sound I could create without relying on traditional rules of tonality and exploring more deeply the aspects of music I tend to not pay extraordinary attention to. With all that, I hope to aid in the development of an even more aesthetically attractive style to try and call my own, further enriching the listener's experience.

The piece is comprised of movement A - slower tempo, choral like, mostly atonal, slightly contrapuntal at times, and B - faster tempo (andante), fugal, themed on quartal harmony, and a minimalist flavor, quite focused on rythm. 

Instruments: Contrabasses, Violoncellos, Violas, Violins I & II, Tuba, Bass Trombone, Trombone, Horn in F and Trumpets in Bb I & II.

Concerto for Orchestra M.M. 72

String Quartet n.1 in Gm - String Orchestra Version M.M. 59 (audio remastered 2025)

This is my second concerto, in which I further metamorphosize the prelude-fugue structure into a larger though molten derivative form. Because of that, there are two movements in it:

A: A quasi violin concerto, with orchestra instruments using texture as accompaniment.

B: A mixture of fugue with the sonata form, quite symphonic.

Instruments: Strings orchestra, Tuba, Trombone, Horn in F, Trumpets in Bb I & II

Composed and produced by M. Miras.

Concerto for Orchestra M.M. 73

Fugue in F M.M. 74

Fugue in Cm M.M. 75

Fugue written for strings in the key of F minor.

Fugue in Fm M.M. 12

Piano Fugue in Cm

Piano Fugue in Cm M.M. 25

Musicoin: https://musicoin.org/nav/track/0x8798f367d1fd8683d8755ab9d89da440e7a9f5ca

Romance In E

"Romance In E" Musicoin Weekly Contest Winner M.M. 26

Prelude and fugue written fo the harpsichord in the key of E minor.

Prelude and fugue in E minor

Prelude and Fugue in Em M.M. 33

Matheus Miras was born in Campinas, Brazil, in 1997. He began studying guitar at the age of 9 and piano at 10. At 13, he became interested in composition through the music of J. S. Bach, marking the beginning of his artistic output. Since then, Matheus has composed over 200 pieces for various settings, such as piano, harpsichord, string quartet, string orchestra, wind quartet, symphony orchestra, SATB choir, electronic and experimental music. Miras' work is mostly polyphonic and contrapuntal in nature, though his craft is often extremely exploratory.

Starting in 2017, he studied classical piano with professor Norberto Égon Osis and classical violin with professor Antônio Carlos Gomes at the Instituto Musical Souza Campos in Campinas. At the same time, he taught himself cello. In 2019, he pursued a degree in Musical Composition at the University of Campinas (Unicamp), where he was exposed to various styles, such as electronic, experimental, and atonal music, studying under professors like José Augusto Mannis, Jônatas Manzolli, Luiz Henrique Xavier, Suzel Ana Reily, Leandro Barsalini, Fernando Hashimoto, Paulo Adriano Ronqui and Carlos Fernando Fiorini.

Miras

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