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Hey there Matthew, Do you have a teacher? Or do you study music on your own with online course guidance? My opinion is do what you want, learn what interests you, but I think it's really advantageous to continue with tonal harmony. When you learn why tonality broke down, it helps with understanding the motives atonal music is trying to achieve. Also, post your music if you haven't already! That'll really help with your growth, as even strangers on the internet can provide a wealth of knowledge. Cheers buddy

HI @BlackkBeethoven My advice is using the given melody with harmony is: 1. Create bass line 2. Fill in the middle parts 3. add figurations.

Here is @Musicman_3254's submission:

Hello @Musicman_3254! Thank you for your submission! Would you please grant us permissions to view the PDF score? Thanks again!

Not really sure which thread to put this in, so I'm posting here 😅 I do a lot of arranging of SATB hymns, and I'm really wanting to get more "fullness" in my writing. I've taken 3.5 years of college music theory so far, so I know the rules, but I'm struggling to find that fullness I'm looking for. A good example of this might be, "Abide in Me". I've attached an excerpt from something in currently working on arranging so I could maybe get some feedback on how to get some fullness. Thanks in advance!

Yes! His hand span is larger than mine. I can play Maj 9th in the RH. Prelude in C# minor--I do not remember the opus number--doable. But I would never recommend it for beginner. What did you think of the second version? executive choices: 1. Made it more accessible for all levels. 2. Keep the dynamic level same until the end: a slow fade out. 3. I could not find a way does not make the tonic to be heard. I do appreciate the feedback on this piece. 🙂 Kvothe.

Here is my submission: https://musescore.com/user/89049631/scores/29505320/s/jl-md7 And here is the pdf: https://drive.google.com/file/d/1oi66fwxpfjm4bvBB6mYQ9d5GGz-afdB2/view?usp=drivesdk I hope you enjoy it! (⁠ ⁠╹⁠▽⁠╹⁠ ⁠)

I’m a 16-year-old trying to become a composer, and I’m pretty much new to this forum! I really want to express myself in more modernist idioms, but I’m still developing my technique. Right now I’m working on a traditional harmony course, and I’m at the point of cadences and simple modulations. I’ve composed several tonal pieces, including a mazurka, a sonata movement, and a late-romantic waltz. I guess my question is whether I should compose many more “traditionally tonal” pieces before moving to the idioms that excite me more? If so, when is the point when I can move to non-functional harmony? Or can I just study traditional harmony on the side, but try to compose more modern-sounding music? I have already been doing this to a certain extent (my late-romantic waltz). Thanks for any suggestions! —Matthew

I wrote this piece for Policromo ensemble, is inspired in baião rithm, a typical brazilian music.

I dont consider popular composers to be underrated. For symphonic works composers like George Lloyd, Malcom Arnold, Vagn Holmboe and Eduard Tubin are amazing great modern symphonists that dont get enough love but they do have a following, they just dont have the mainstream they deserve. Heitor Villa-Lobos is an amazing symphonist. Alfredo Casella is very underrated and so is Arnold Bax. Walton, Delius, there is plenty of composers out there that are great yet not mainstream, kind of obscure. For more solo and chamber/concertante music you've got the amazing Samuil Feinberg. But for my actual list i will list actual obscure composers 1.Alun Hoddinott - Not the best melodist for sure, the music is pretty unstructured, but interesting nonetheless. 2.Aubert Lemeland - A modern French conservative who is worth checking. 3.Eric Chisholm. 4.Carl Vine. 5.Viktor Kosenko. Most overrated composers 1.Hans Zimmer - Good for impressionable people who didnt expand their taste. 2.Ludovico Einaudi - Just no. 3.Sergei Rachmaninoff - I just have never really felt the music. Mainly the orchestral stuff. The solo stuff is the only thing i remotely like. I can't think of more. Anyone who claims Brahms never innovated doesnt know a single thing about Classical music or Brahms either.

Hello @mercurypickles! Great job! It's a shame this set of Carol's got so little attention on account of being submitted so late in the event. I was also puzzled about why you chose to use the piano in the part of the piece where you did. Did Musescore have a hard time rendering that many voices at once? I've been making some Christmas Mash-up's lately for choir and string orchestra and I didn't run into any problems with rendering too many voices at once. I'm really curious about the particular problems you encountered. Thanks for sharing!

Rachmoninov haha 🤪

@therealAJGS I like the different textures that are used in this piece. I am curious what used. Do tell.

Ok these files should be readable for all now..

So now I have managed to create readable PDF-files of some of my compositions on my youtube channel https://www.youtube.com/@sbn-p4787 The direct link to the ones you requested are here: Whispering Mountains PDF The Evening Sun PDF Also a new Symphonic fantasy - White Morning and score White Morning PDF These scores are not made with performance in mind - the slur-lines are for playback, many of them not possible to play like that for wind/brass/string player.

@PCC "Mr. big hands" 😄 I am not Sergi Rachmoninov. He has larger hands than me. One of his preludes is challenge for me to play. *sigh*. But I understand the pain with those with small hands. @Henry Ng Tsz Kiu I have adjusted b32-34. I have shifted voice 1 down an octave. mp I feel is correct dynamic for the piece. I want to quite. Something is lurking in the shadows, you know. Version 2 is now attached.

Nice piece! I think it is good length, ok structure, and nice melodies/dissonances.

This is quite a nice short piece! Too short... Maybe add the lick in there...

Haha no worries - In fact, my goal is to create a complete set of festival music with strong contrast, and is self-contained - where you can find different types of music and enjoy it throughout any parts of the year. And as you may know, I want to keep the respect and tranquilty of Double Ninth festival so I won't be too "harsh" on the melody😆 Btw, I actually wanted to use Dizi instead of Flute and Clarinet - but I didn't have the sound library for that lol

A like to this for your inspiring you please!

Dont have a chance to listen to it, but from reading the score the drone like base creates this strong anxious atmosphere with the melodies on top. Reminds me of second mvmt of Sibelius 2nd symph also, Mr big hands syndrome again… unlike you expect rolling all of those chords? (Which I think ruins it a bit

Hey Henry I was just thinking about what you said and now that I think about it more there are probably more unexplored variations that could probably start with "Jezus..." instead of "God Rest..." .. I just went with the first successful combination I found honestly

Well, he avoided it to enrich the harmonic fullness of his counterpoint, but I don't think have to avoid it here given the style and mood. Maybe the opening left hand figure can end on C instead of note F, that would provide a morr ambiguous reading.

Here's my submission: