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I thought the performance (of edition 2.5) went very successfully. In edition 3, I will either make the solos concerto-based solos; or keep them as non-scordatura principals. I suppose I'll go with the latter, for practical and financially-friendly purposes. In the meantime, I'll be waiting until September or October for the recording to be released. How much of it would I legally be allowed to share here? Just the audio (while remaining it anonymous), or may I share the whole video product as well?

Thanks, Mason! I do recognize that this is a lot of music to sift through and it isn't at all an expectation that you go through it all. No doubt that the things you have picked up already will apply generally. You are teaching me important things; for example, I wasn't aware of the 5ths double stopping issue. Also, for some reason I have never mastered use of slurs in my music. I think it is because I have been more focused on the technical aspects of voice leading and structure that I have neglected these performance indications. It is definitely something I need to get better at. The same applies to the page formatting issues you have highlighted. I agree that if this work was ever received by an orchestra to play, these things would be essential! As for the wind instruments - whether they should be divided into two parts as per convention and in the interests of adding depth, this is something else I will look into. At the moment, there are simply four individual parts for the wind instruments. 🙂

I've dug up another decades old composition. I was once again experimenting with polytonality at the tritone (C and F# major). The first 9 bars of this piece were all I had to start out with so I extended it and finished it using some variation technique and slapped on a repeat and called it done. I referred back to Musescore quite a bit in the process instead of writing everything on just paper and only using my imagination. I made many "corrections" from things that didn't quite sound the way I thought they would on the page, so I feel like a hack LoL 🤣. I'd appreciate any of your comments, critiques, suggestions or just observations. I hope you enjoy and thanks for listening! A Waltz in F#.mp3 A Waltz in F# Print.pdf

Hello again! I found some downtime today and decided to look at the first movement of your work briefly. Here are some annotations: M. Boyd - Symphony in A [ANNOTATED].pdf

Hi there, saw the video, and wanted to ask if you have the score/ could share it? In my first listen and view, there are a lot of engraving mistakes and I have some comments on the piano part and general orchestration throughout. I’d love to have the score to format some annotations to make it easy to comment upon.

Hello, PeterthePapercomPoser. This track is really nice. I did notice some clipping, especially around the 1:24 mark. As for the composition itself, it maintains a consistent atmosphere throughout, yet features unexpected twists that make it enjoyable to listen to. As a remake of a decade-old piece, I wonder if they composed it at a pretty young age? You may have already been skilled at composition back then. Best, Lithl.

Another wonderful piece!! I love the changes in character and how you developed the piece throughout, while still keeping a very cohesive sound. Well done! I really don't have any critiques, other than to edit the orientation to make it more suited for printing it and playing it.

Mario Party 2 - Space Land:

Hello! I come to you with yet another refurbished piece from over a decade ago. I welcome any of your comments, critiques, feedback or observations. Thanks for listening and I hope you enjoy! A Scherzo in Bb.mp3 A Scherzo in Bb Print.pdf

Ahh yes i see your point, Usually the signed "Contract-Clauses" pre state this, in order to prevent prosecution. Iv included the MID & PDF files above. SUMMERTIME 1934 by George Gershwin - Rendition.mp3 SUMMERTIME 1934 by George Gershwin - Rendition.mid SUMMERTIME 1934 by George Gershwin - Rendition.pdf

This is a nice piece! It would be great for students working on waltz patterns, since the melody, especially in the beginning section is more simplistic and repetitive so they can focus on the LH. However...I would love to see you develop that section a little more. Rhythm, the shape of your line, etc. Just for some variety so it's not so repetitive - repetition is good,but not to the point where listeners are no longer "surprised" by what they're hearing/what they might hear. Your B & C sections do a much better job of applying this - repetition without becoming TOO repetitive. Good job overall, keep composing! I would love to see how your work grows

I pray for the fingers of the pianist who attempts performing this piece lol. It is so fast. But the arpeggios are nice, but I feel as though the piece could benefit overall from a slower tempo. Your progression is very nice.

paganini violin concerto 1 is so underrated everyone knows concerto 2 which is la campanella and people usually know it by liszt's piano version which is SO overrated and practically no one knows violin concerto 1 even tho its so good

@TristanTheTristan It's interesting that you would mention the influence of Prokefiev and Rachmaninoff on this one. It's certainly there with this one, but I don't feel like it shines through quite like it usually does--I take a lot of inspiration from the late 19th and early 20th century composers for most of my work, especially the Russian ones (I <3 Stravinsky).

Hi, TristanTheTristan, This music is enjoyable. It seems tough to play on the piano, but the rhythmic feel of the arpeggios is great. Personally, though, I felt the ending after 1:06 wasn't really necessary. It might feel more natural for a miniature if the arpeggios just slowed down to a smooth close. Overall, it’s a nice arpeggio miniature Best, Lithl.

Without a score - Then the reader has no way of knowing how you approached and composed the works. It could be a cut and paste job. Mark

Coming back here, so much nostalgia!

1: "The sound tracks seem to be attached to a specific period ... television shows/movies from the late 1960's and 1970's." That is Correct ✔️ 2: "In both works the musical themes seem too familiar and a bit unoriginal." That is Incorrect ❌ 3: "Are these piece mixes of other period works?" That is Incorrect ❌ 4: "Why not post the scores?" Not Necessary ❓

This is a nice piece of music! You have included some prokofiev and rachmaninoff essence, especially in the development section. It is sad that you have used a electrical sound, which in my opinion, makes a sound a bit worse. Your opening theme is innovative and smart, seeing the idea of I,I, V. This allows it to feel even more like a waltz somehow. Some advice I give everyone when composing, is to try not to use specific numbers, especially not the ones not on a standard metronome. Instead, what I like to do is to use italian phrases such as Allegro or Presto. The final chord should be arpeggiated. In conclusion, it is a good start. TristanTheTristan

The sound tracks seem to be attached to a specific period ... television shows/movies from the late 1960's and 1970's. In both works the musical themes seem too familiar and a bit unoriginal. Are these piece mixes of other period works? Why not post the scores? Mark

DESOLATION DESTINY UNKNOWN© | by V.I.P.EXCLUSIVE™ "Based on a true story" DESOLATION Destiny Unknown.mp3 DESOLATION extra.pdf DESOLATION.mid DESOLATION REPRISE.mp3

how about this?

we shall see >:)

SINCERELY YOURS© + SUMMER WALTZ© | By: MAVELL-LIVE 24:7™ SINCERELY YOURS by Mavell.mp3SUMMER WALTZ by Mavell.mp3 SINCERELY YOURS.mid SINCERELY YOURS.pdf Summer Sunset Waltz - by Mavell.pdf Summer Sunset Waltz - by Mavell.mid

I always like this song by him! It's used in Wong Kar Wai's In the Mood for Love. Henry