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  1. 3 likes
    This is what happens when you have to write daily pieces and you get bored with writing crap. I'm quite proud of this work, even though it may not be conventional in any sense of the word. I hope you enjoy this one!
  2. 3 likes
    This piece was supposed to be an introit or "requiem" movement to a requiem I was writing until I realized I hate writing with established formats (i.e. symphony, sonata, etc.) so this piece remains as is. As such, the final buildup was planned to up an octave and take two phrases instead of one to descend the second time through, but I never wrote a "second time through" so what's here is what's here. Enjoy!
  3. 3 likes
    I have had the good fortune to live on Central Park in New York for six years. I’ve had the place all to myself in the winter and have had to share it with tourists in the summer. It has many points of interest, such that each are singular and need no colorful qualification. There is The Lake, The Pond, The Meer and The Beach (yes, the park has a real beach). The Sheep Meadow, The Bridal Path, The Boathouse, and so on. One of each. And the Carousel. That too, unique, except for the children who are always the same at five years old. Their mothers bring them here to go around on the wooden horses as the motor cranks up and up and up and the jangly circus music begins, and all the many little hearts that beat so fast in their fearless joy … I wanted to share this little vignette with you. Sorry, no score, but I can give you the instrumentation. 2 clarinets, 1 bassoon, 1 Horn in F, Bb trumpet, piano, harp, glockenspiel and strings.
  4. 2 likes
    Wow. What a great, nice job. This Form works fine with this language. And I think you've fulfilled the expectations of the Mosaic Form (every part is part of a cointinuum with no beginning-no end). I'm glad you've used this contemporary harmony. Very well balanced, it's modern enough but it has also a classic feeling. I suppose you studied that Stravinsky's symphony... The score is full of indication, as it has to be. Congrats! I love it.
  5. 2 likes
    Hello, To be honest, I have no idea how a Viennese piano waltz sounds like. I only know orchestral versions by the Viennese maestros. The waltzes sound very Chopinesque to me, despite you say in the description you tried to compose in the Viennese style. Some parts sound very improvised. Can you give me example of Viennese piano waltzes? I am astonished by your modulations. They sound very natural and logical. The melodies are beautiful too. The sixth waltz is too repetitive in my opinion, because you only have one rythmic patern and you repeat this patern for more than one minute. Cutting the repetition bars out would probably solve the problem. Your audio sounds pretty nice for a piece played by notation software. Which program / soundfont do you use? Overall well done! Maarten
  6. 2 likes
    Hi I've been working on something simple but funny (for me). Inspired in the life of my cats, I'm doing a king of little suite for flute, clarinet and piano. The clarinet is not transposed in the score. Well, music for me is this, too... T I've written too pieces (working on more): Awakening: the moment when the all come back from the dreamworld. Purring: including the sound of Dexter.
  7. 2 likes
    To me it sounds like film music, from an old movie. It is nice, relaxing music. Try to search it here: http://www.musipedia.org/
  8. 1 like
    Hmmm...I kind of like it, which is bit unusual for me. I tend not to like contemporary orchestral musical, maybe because of the complexity involved. But I feel there is somehow a fine balance in this piece, despite its many "flowbreaking" moments. I don´t know if flowbreaking is the right word, but I hope you get what I mean. I can´t hear on the music, that you hate to make orchestral music. It "sounds" like you had fun doing this. :-)
  9. 1 like
    You don't have to use the Hartmann pictures. You can use any piece of visual art.
  10. 1 like
    Very cool competition. If I can find the right inspiration, I'd love to enter. If not, I'd love to judge .
  11. 1 like
    set of waltzes, nine in total, but stitched together in one. I have tried to keep the style Viennese, as opposed to the Chopinesque waltz that is generally written for the piano.Details:Waltz I: F major with variationsWaltz II: A minor, ends in A majorWaltz III: D flat major, with the Viennese characteristic Atempause rubatoWaltz IV: F sharp minorWaltz V: D major/F sharp majorWaltz VI: D major with trioWaltz VII: F major, an interludeWaltz VIII: C minor with trio in C majorWaltz IX: E majorCoda: With themes from Waltz I, VIII and IX.The software, of course, cannot do justice to the rubato. I reckon it would sound better when played. Tempo changes can be arbitrary, I just tried to make it how I would play it. Critique?
  12. 1 like
    Good job. A few general suggestions: 1. I would fill in the huge gaps. 2. In many places, the two parts have the same rhythm. It would be nice if you have two different rhythms going at once during those bits.
  13. 1 like
    Very nice melodies! Could you give us more information about the piece. A score would also help to give feedback.
  14. 1 like
    Not exactly my cup of tea, but I can appreciate any type of music which has some thought and effort put into it. And you did a very decent job. To my ears, it might be a bit guitar heavy, some of them.. The kick is fairly bright. and the bass guitar muffled. You have most of the instruments in the mid-range. so it gets a bit congested.. a consideration might be some subtle EQ'ing and wider panning to get more of an aural panorama. I don't know how you recorded this, live instruments, mostly midi etc.. I find that as I work on a piece, and it starts taking shape.. I sometimes will have to substitute some instrument patches, or even move the notes of some parts, so everyone is not hanging out in the same frequency range. Again I KNOW little about this kind of music.. so all of this might not apply.. When tackling a certain style of music.. You Tube is a GREAT tool.. I go and listen to similar pieces of what I am attempting to do. I analyze what they have done. and I try to incorporate some of that, to 'capture' the feel. Sometimes I take a song off Youtube, and put it on two tracks of my piece in my DAW.. I solo individual tracks with the YouTube sound track.. Ignore the clashing tempos, keys, etc Just listen to the sounds of the particular instrument with a piece that you think is really well done.. Does your kick fit in? or does it have too much click, too muddy etc. your bass sound, does it have matching qualities.. hi-hats etc. This is a reference test, and exercise. Doing this will help you tune into the sound of the instruments you are going to use. Try it as an exercise, whether you use your results or not, is not that relevant. But it helps to improve your talent.. Who ever thought Prince could get away with no bass in 'When Doves Cry'.. First 30 seconds of that song hooked me for life to it.. Then I realized there was no bass. I laid it up into my DAW.. I played some bass parts, and really realized.. the song didn't need a bass. The quality and emotion of the song, carried it. The note sparseness let the emotional quality really ring thru. If anything a bass, dragged it down (or at least my bass playing did).. MANY years ago I worked in a multi track tape studio in the 70's in Boston. I was always writing, and recording my own compositions.. I used David Bowie's 'Young Americans' as a song to match my individual drums, keyboard, guitar, etc parts. cause I think sonically it is really well executed.. You find some pieces in your genre and use them as a sonic template. It got me into the "sound" ball park a lot quicker.. Musically I think what you have done is very good, unique. It certainly is dark and moody - A+ for that. I might have liked a stronger ending.. Keep up the good work.. I like what you're doing.. and I'm glad you're here. This particular forum has been gaining steam lately.. There are many really great classical people here. but there's room for us, who are into something different.. The first year, I never ventured out of this forum, (where my music fits).. But lately I've been listening to music that is definitely outside of my comfort zone. and I read some really insightful critiques and comments. And I can figure out ways of how to incorporate some of that into what I do.. There are some very talented people here. and we can learn from them even if their music is different from ours.. It takes some work to translate knowledge gained from their genre and put it into yours.
  15. 1 like
    Hello! My name is Andrew Ambient! I'm an amatorial young italian ambient music composer. I've composed that soft ambient music titled "Green Mountains" with easy harmonic progressions and associated the photo (shot by me) of green mountains in order to show you the immensity of the nature, the infinite. This is my first ambient project album in which I associate images and music. That song also reminds me the Dark Knight Rises's ending scene because is relaxing but a little bit melanchonic. Listen it and tell me which images represent in your mind and which feelings do you feel. Thanks. Andrew. Good Listening! :D ---> "Green Mountains" by Andrew Ambient <---
  16. 1 like
    I don't dispute anything Noah said, but I'd like to point out that: a. When going back down the scale in melodic minor, the notes are the same as the natural minor. Yup. So you go up the melodic minor scale in one way, and down another. b. Since classical theory hates the minor v chord, melodic minor exists to give everyone the "normal" V chord that functional harmony just loves, though the v chord definitely has its own uses.
  17. 1 like
    This is a nice piece, but I have a few suggestions: 1. Starting at 0:38 (second theme), I'd add another part that's rhythmically different from the existing parts (e.g a counter melody for a woodwind instrument) to spice up that section a little, just like you did at the last repetition of the theme. Overall, you could have different harmonies and counter melodies going each time you repeat the theme. 2. At 0:8, I would keep the C minor tonic triad going and remove the D4 and F4 because it's a little clashy and doesn't fit so well in that context. Also applies at 0:24, 0:36, 0:40, 0:53, 0:57, 2:19, 2:27 (keep the E-flat major tonic triad) and 2:36. 3. At 0:20, I'd remove the F4 and replace it with another note in the C minor tonic triad. 4. At 1:1, I'd replace the G4 with an F4, as G4 doesn't fit in that context well. 5. Overall, you could change the motion more often. 6. At 2:23, I would keep the ii6 chord going and remove the C4 and E-flat4. These two notes do not fit so well in this context and clash with the melody a little. 7. I'd add more motion at the end.
  18. 1 like
    Yes, in terms of "economy," you may find it extra difficult to get a set of pieces like this performed. The whole set only takes up a minute and a half of concert time, but they require eight players. The more players you require, the harder it is to get on a program and the more substantial a piece has to be to earn a space in a concert. Think like the director putting a concert together. Every time you need to add one more player, life becomes harder. Someone needs to know a good player who plays the instrument. That player needs to have a gap in their schedule that will allow them to make at least one rehearsal and the concert. If they are a professional player, you need to have funds to pay them. If they are not a professional, you need to be sure that they really can handle the music without stage fright issues. So if a piece calls for 8 players, instead of 4, there needs to be an obvious reason that each player is really necessary. Because for each player you add, putting on the concert becomes slightly more difficult. The groups I perform with both regularly change the instrumentation of pieces they perform. Either we can't manage to book a good quality harpist, so we cover the harp part on piano; or we can't justify hiring an English horn just for one piece in a 90-minute program, so we have someone else in the brass who isn't playing during those measures cover that English horn part. Sometimes there is no good work around solution, so we just decide not to add a piece to the program. Sometimes the composer, or a later editor, has thought about this possibility and there are several editions of the piece available, each with different numbers and varieties of instruments to cover all possible budgets and shortages of quality players. Particularly because your "Sententia" are so short, they become harder to justify in a program. They aren't substantial enough to be half of a concert program, or a quarter of a program in which they are contrasted with other pieces in other styles. It's very rare for a director to be putting together a program and think, "I just need a minute more music." They need 10 minutes more. Or 15 minutes more. If you need a minute more music, you can just as easily do without the minute more music. It doesn't really solve a problem for the person deciding what will go into the program. Grouping these is a VERY good idea to get around that problem, but you may want to group them in larger numbers. So if you want to write very short pieces, they are probably best for an instrument or two, as you have been doing, so they can be used in a recital setting. When a single player, or a player plus accompanist can pick whatever they want to play, it's easy for them to pick up one more piece, (your piece), to learn, just because they like it. The more people there are, the more expensive it becomes to add each piece, in terms of time and money, so there has to be enough content there to justify the choice of the piece. I think that's what Luis and Monarcheon are getting at.
  19. 1 like
    Just in the notes section before the actual score. So say this was a copyrighted, published piece; it would be cover page, table of contents, extra instructions, then score.
  20. 1 like
    Personally I teach, and finding time away from my "kids" is difficult. My composing is limited to short bursts a couple times each week, which makes doing competitions of any kind difficult. I want to get involved in more (in fact I submitted an entry in June for an off-forum competition), but summer and winter breaks are my only options for putting in any real time. Like your ideas for giving some target-skills for composers to practice. It's kind of like Master Chef or something where they're given an objective and the chef who does it best wins. Also, to mirror what @Noah Brode said - if we did something like it again, I'd enter. Happy Friday! Gustav Johnson
  21. 1 like
    I'm asking the poll because of this; since summer, the turnout steadily declined and completely sunk with this one, so I want to know why before we make another.
  22. 1 like
    A piece I wrote for a newly formed wind quintet at my university, though they haven't got to trying it yet. My longest single-movement work so far, and it took a lot of work to keep it going and (hopefully) keep it fresh. It was a great opportunity to play around with tonality and harmony though. I kept adding in wholetone scales whenever I could because the world needs more wholetone.
  23. 1 like
    This is so nice. Dreamy and with beautiful contrasts (the trumpet at 1:00). The combination of instruments sounds good.
  24. 1 like
    Some of those grace note D#->E's are kind of awkward, haha. I concur that Nocturne doesn't really fit it. I don't think it needs to be in the confines of any pre-established convention... Transition to C# major came out a little bit from left field especially with a minor sixth, but it was fine. It's really good and flows well. I imagine a skilled pianist would know exactly what to do with this!
  25. 1 like
    Three tracks each with slightly different characteristics.
  26. 1 like
    I also like it. I prefer a dry sound for the piano, but it's ok.
  27. 1 like
    If your piece doesn't really fit any of the standard constructs like Nocturne, Sonata, Concerto, Prelude etc., then Fantasy for piano in (key) is always a good bet, it has a fairly wide ranging definition and so can cover a lot of work that otherwise defies definition. Although, you could call it anything you like and no one would really mind, it's just that if something does have a fairly ridged definition, I always like to try and fit the work to that definition.
  28. 1 like
    Do you mean a dim. vii chord or a V chord? Either way, remember that the leading tone itself can't be doubled if it's in the bass voice. Also, for the dim. vii chord (or for V7), the 4th scale degree should resolve downward to the third of the tonic chord. If you're doing a fully diminished vii seventh chord, have that 6th scale degree resolve downward to the 5th. I'm not sure if that would necessarily be the case for a half-diminished vii seventh chord. If you're going for a cadence to the tonic, I'd say to try your best to use contrary motion between the melody and bass line. I may be missing some things, as this is all from memory.
  29. 1 like
    I like it, even its shortness ! As introduction of something is good.
  30. 1 like
    First of all, the file seems fine to me, I can play it without any problems. If you do encounter problems here's a Youtube link: There is no score for this piece. I learn really most pieces by heart while composing them, because I have noticed that computer programs for composing such things are really incapable of doing the thing I want them to do, and take way too long. I could write it down by hand, as the great composers did but I have a lot of things to do in a day, can't afford to do that. I can therefore of course not assure anyone the music isn't stolen, but I really doubt it's that good.
  31. 1 like
    I've always found it hard to critique ambient music, just considering that the purpose is just very different from normal absolute music. Some voice leading when the top line returns to a tonic instead of the 3rd felt stilted sometimes, but possibly more variation in chord structure could make that a return of some sort rather than simply part of the progression. Nice work, though.
  32. 1 like
    This is excellent background music. Very dark and mysterious.
  33. 1 like
    Very interesting! The tango is one of my favourite dances next to the gavotte. The interaction between the violin and piano is nice and the melody sounds wonderful. My only point of critique is that the work is too short for me. Please give us more music so that we can enjoy more of it!
  34. 1 like
    Quite nice for your first composed piece ever. I like how you include some imitation between the different saxophones. Like ilv said, you have an interesting theme that can be developed in various ways. Some feedback: As a musician I like to have some indications how to interpret the music. For instance, I would personally prefer to have Allegro maestoso (100bpm) than only the tempo marking. However, this is just my opinion. I know this is a sketch, but please add articulation markings in your final result! It will help the performers to understand the music. There are some issues with fingering positions, which could be very akward to play: M.11. Soprano. You should change the passage from written low C# to the other low C#, because the notes of this transition (C# - B - D# - C#) all have to be done with another pinky position. The last point is that you have to consider if you want to let the soprano play the high F# in mm.15 - 17., because the upper notes of the soprano saxophone can be very sharp. Well done and I hope that you find the feedback useful!
  35. 1 like
    For woodwinds and strings, this was inspired by a Tom Waits song that poses the question, 'Who will put flowers on a flower's grave?' I'm kind of fond of it, but my opinion doesn't count cuz I'm the composer. What do you think, YC's?
  36. 1 like
    Good work. Three suggestions: 1. At 0:21, I would replace the C-sharp with a D5 (concert pitch). 2. At 0:24, I would extend the 16th-note passage by two more notes. 3. You've got a good theme here. Why don't you develop it.
  37. 1 like
    Good job. A few comments: 1. The fast passages in the piano right hand part don't quite match the harmony sometimes, but this mismatch can be cool. 2. At 3:24, there could be an E1 in the piano left hand rather than G-sharp1.
  38. 1 like
    Hi there, first things first: This track is part of my FAN-MADE-SERIES, where I try to make scores in style of themes, subjects and moods of upcoming or already existing movies. I do this especially to improve myself and to gain experience in different genres. I also experimented with new VST templates (in Cubase 5) and most important for me: with new reverb settings. The attempt was to create a realistic soundscape and make the orchestra sounds as realistic as I can. Hope you can give me feedback about that. Please also let me know, if you could imagine this track to be part of a Thor movie. All the best, Roland
  39. 1 like
    Mm... conceptual music is a different beast. Not necessarily a challenge. Sorry if it came off that way. I know it's not a popular genre.
  40. 1 like
    I'm appreciating the conversation for a bit longer before I respond.
  41. 1 like
    I've got that book too. Some of the exercises are things that have definite correct answers: Circle all the 1st inversion chords in the provided example. Circle the cadence. What type of cadence is it? Some of them are more subjective and have more than one right answer: Using the given soprano line, create three lower parts that follow the rules of voice leading. Matheus, you might be able to purchase a teacher's edition of the book, which would have correct answers to the exercises that have definite correct answers. You may also be able to find some free online music theory tests which will have similar exercises and give you immediate feedback on your answers, so you can be sure you are understanding the concepts correctly. Purchasing a second music theory text by a different author may also be helpful, so you can hear the same basic concepts explained in slightly different ways. Sometimes that can reveal any misconceptions you had about the material. More and more colleges are starting to create online courses that are inexpensive (at least compared to going to university full-time), and open to students anywhere in the world. There are generally graded homework exercises that you complete online and receive the correct answers to after you finish, so you can tell if you are understanding the material. That would be another avenue you could explore. Keep looking for explanations in as many different places as possible. You will start to have a better sense of the whole. But I'd agree that asking for homework correction every day here will make people tired very quickly. And might get us in trouble if a student in an official class for a grade at some university, using the same text, discovers our helpful set of correct answers and stops doing their own work. Try to find answers on your own, and then ask specific questions here if you are really doubting your understanding and feel stuck.
  42. 1 like
    Sorry, I haven't been getting email notifications ... I think you have a perfectly good ending, right up until the final, final tag, which is a sort of anti climax. Easy to fix, right? Btw, what happened to the Chat thingy here at YC?
  43. 1 like
    It's classical in nature, but not quite just in terms of the chord structure. You seem to be in a rush to add new ways to make the progression pop, harmonically and technique-based (like adding new counter melodies or timbral interpretations). I know it's technically normal but it really stands out in this composition for me. I'm not sure why. Maybe it's due to the somewhat sectional nature of the piece? It also happens with the harmonic progression; it's fairly looking for new ways to advance when I don't think it always has to. It is still a nice movement, but a little too sectional and horizontally focused, perhaps. Good job!
  44. 1 like
    Thanks for answering! I am experimenting with FL Studio, but it will take some time and effort to understand the program before I can really use it for producing music.
  45. 1 like
    Hello all, Here is an instrumental song to celebrate spring I hope you will enjoy it. You can listen to other files and follow me here : on Youtube https://www.youtube.com/channel/UCcZqCDfr8fUkN1UBLTqbzcA on Twitter https://twitter.com/bielkamusic on facebook : https://www.facebook.com/Bielka-Music-1368356019843598/
  46. 1 like
    Lovely piece for a movie or film. It's sad, though (that's not a bad thing).
  47. 1 like
    I completely agree! The possibilities of the more advanced techniques like overtones, altissimo, multiphonics etc. vary per player. It great to have a reading session where you meet the players of you music.
  48. 1 like
    Hi I was talking about sections and climax, etc... The music before XX century is based in that. We always expect repetitions (sections) and climax, in tonal ways. You can "extrapolate" this pattern to a contemporary piece, of course, since to sound contemporary there are many other resources. However, many contemporary music is built on sections or parts that are different because textures, scales, etc... Everything is possible and good. I have to say that "contemporary" is a wide concept, and your pieces sounds contemporary to me. Nice you use the third mode... Sometimes I've used the hexatonic scales for the bass part and the 3rd or 7th mode in the other instruments. I like this mixtures. Maarten, in my modest opinion the work is very good, I would only sew the parts you have and focus on adding or changing some parts to be less vertical (parallel). Once you have the piece together you can work on a climax (I suppose by the second part near the end) in some way you feel: for example, a parallel scale in high register the three upper instruments, and the bass to the lowest... Or the scale, if you don't want it to be parallel, make it as a mini-canon where the voices meet in the last part of the ascending phrase.... There are many ways. To be most effective, make it in crescendo (and probably you won't repeat it). Changing meter (I mean constant changing meter and adding rhythms and that is other took you can use but not mandatory, of course). In fact I think it would be very odd here because the mood is contemporary but not "radical", you know what I mean. Contrasting dynamics are also characteristic, so I think they'r good, too.
  49. 1 like
    Hi Noah, Sorry I've not been around much lately. Between starting a new job and trying to wrap up my own music projects, it's been a couple of crazy hectic weeks. Anyway... Overall, I really like your revisions. The piece feels a lot more unified now. Since you're pushing for a May 1 entry deadline, I'm going to focus my commentary on getting the work cleaned up and ready to submit. 1. The balance of the opening section is off. The way I'm reading the score, all three trumpets would be playing the same notes for the first four bars. Likewise the three trombones. Those lines are going to be way more prominent than the others. Either split the trumpet and trombone sections into parts straight away or indicate one only for the first 4 bars. 2. I'd leave the euphonium out of the first 4 bars. The trombones will be clearer in the fanfare without the rounder tone and softer attacks of the euph. 3. I know you're kind of limited by the format of the score and what MuseScore will let you do, but ideally Trombones 1 and 2 would go with the trumpets on the fanfare line. Three trombones plus Bari Sax, Tuba, and Euphonium on that bass line is overkill. 4. In 4/4, the staccato half seems odd to me. Maybe a quarter tied to an 8th to indicate an off on 4? 5. Throughout the piece, it looks like there are only 1 or 2 trumpets. I never see the third anywhere. Third trumpet is very standard in a concert band or wind ensemble, so I think you need to go back through and look for places to do three part trumpet writing. Similar feedback on the trombones, although 3rd trombone will sometimes go off and double the tuba while 1 and 2 are doing something else. Also, similiar feedback on Clarinets. 6. Unison Alto Saxes cut through the ensemble a lot. The places where you have two altos on the top of a duet and the tenor on the bottom would likely be better served with the altos playing both duet lines and the tenor doing something else. 7. The chord at m. 24 is going to get muddy. Given the harmonies you're using the bar, the euphonium should be up an octave on the G at least. Also, this is a great spot to block out your trombones and horn in three- and four- part chords. Remember, things doubled at the unison and in octaves are always louder. 8. Your writing really shines in the sections where you're using less of the ensemble. I love the movement of the line through the different solo instruments at B. 9. When it comes to allocating solos, they should generally be placed in the first part for any section, regardless of range. The best players will be on that part. In the Horns, there is the additional aspect of managing fatigue for the player. In most bands and orchestras, the practice is to have two players on the first Horn part dividing duties. The principal will take solos and important lead sections while the assistant first will handle a lot of the rest. 10. Measure 93, great Bass Clarinet line! The player will thank you for that one. 11. I would leave the Bass Clarinet out of mm. 101-104. That gives the player a breather after the solo line and gives you a cleaner sound with just bassoons and horns. At 105, when the trombone comes in, it makes sense to add bass clarinet to thicken the texture. 12. At D, is the 6/4 grouped as three half notes or two dotted half notes? With all the syncopation in the accompaniment, it's going to be hard for the group to establish time. If it's grouped as half notes, use a 3/2. Also, for the players with the 8th note accompaniment, beam those by the half note beat so it's really easy to see. If it's grouped as dotted half notes, I'd recommend using a 3/4 so the players have more frequent barlines. 13. Also at D, the bass drum part should be: quarter note, 8th rest, 8th note, quarter rest, 8th rest, 8th note, half rest (or two quarters). This allows the player to see the beats better. 14. The high Cb in Horn 1 at m. 137 is in the extreme upper range of the instrument. If you know that you'll have a good horn player to do this, it's OK. Anything above top of the staff G is really risky to write for anything other than a professional group. 15. The key change from Cb to C feels unnecessary to me. It's a two-bar trip through the key. Probably better handled with accidentals. Likewise the three bars of E following. Also, the double bar feels misplaced. The trumpet fanfare is the end of the old section to my ear, not the beginning of the new section. Personally, this feels like a good spot to go keyless. The tonality is shifting so often I think you'll get a better result from E to F is players were just reading accidentals. 16. The Flute 2 solo at F should be a Flute 1 solo. It's technically intricate enough you want your best player on it. Also, it would be clearer to have Flute 1 play the lead in with Flute 2 holding the B below. Also, in the opening triplets, the F double sharp should be a G. 17. Rehearsal F is in C major, so it should get a key signature of C major. That will make the alterations in your exotic scale much more obvious. By the way, nice scale choice here! 18. At G, again the Flute solo should be in Flute 1. 19. At m. 194, I think F# major might actually be a better key for this. Your exotic scale is created by adding flats to a major scale, meaning Gb major starts picking up a lot of double flats. 20. The "Change to Tubular Bells" marking is incorrect. Harpists are specialists who do not double elsewhere in the percussion section. By tradition, so are timpanists. You need a single Tubular Bells staff in the score. 21. What sort of bass are you envisioning for this? With the marking "Electric Bass", you're going to get a fretted rock band bass plugged into an amp. If you want a classical bass, this should be marked String Bass, with the abbreviation "Str. Bs." (Why not just Double Bass, as in the orchestra? The tradition of calling an orchestra bass a String Bass in the concert band comes from the days (say through about 1940 or so) when the tubas were referred to as "Basses".) 22. On the last page, Horns 3 and 4 should be in unison on the upper line, not octaves. As written, Horn 4 is wasted on a note that the bass trombone is going to be belting out anyway. Also, that way you can get rid of the 8vb marking. 23. In general, I think your score would benefit from slightly smaller staves with more space between them. Right now, everything feels a little cramped. 24. I don't know how much of the staff grouping you can control in MuseScore, but I've attached an example document showing an example layout for Concert Band based on my usual practices. Regarding groupings, families of instruments (Flutes, Double Reeds, Clarinets, etc.) are grouped with winged brackets. Within families, staves with the same instrument (Oboe 1 and Oboe 2, for example) are further grouped with a hairline bracket. Curly braces are reserved for instruments where two staves are played by a single player, such as harp. Barlines run vertically through instrument families only. If you can, it's helpful to have a little extra space between instrument families. 25. Regarding staff sharing, no more than two parts can share a staff. My usual practice is to have the following share when possible: Oboes 1 and 2 Bassoons 1 and 2 Clarinets 2 and 3 - Clarinet 1 is usually the most distinct clarinet part, so it gets its own staff. Trumpets 2 and 3 - Same logic as clarinets. Horns 1 and 2, Horns 3 and 4 - This puts the horns into high-low pairs. Trombones 1 and 2 - This leaves trombone 3 or bass trombone (which should be called for if going lower than E natural below the bass clef) to be more independent or to double with the tuba. Percussion 1 - Snare Drum and Bass Drum sharing a staff. Percussion 2 - Other unpitched percussion sharing a staff. If the parts end up having highly independent figures, they should get their own staves.
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    Hi all, Here's a little vignette for solo piano. Hope you enjoy it! (Note: for those listening closely, the playback on the feathered beams is faked using tuplets.)