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I was mainly asking, because you sometimes combine sfz or sffz with a vertical accent (e.g. Bar 119).

Hi there, TristanTheTristan, and welcome to the subforum of my nocturne! I am really glad you checked it out, and I would say I would practice that part with hands separated first, and then with different rhythms each. By the end, put them together correctly.

Hello there, @TristanTheTristan! I see you have written a nice nocturne. I really like the style of this piece, although I may have to question the G sharp minor part's start. I believe that might be a bit difficult to understand and play, but I do like the idea. May you please tell me how you would practice that part?

Luigi Boccherii | Minuet : RENDITION + Bonus Track Luigi Boccherii _ Minuet _ RENDITION.mp3 Sympathy for Symphony.mp3Luigi Boccherii _ Minuet _ RENDITION.pdf

You sure you're not an English major too? 😂 I like how you spun that 😆

Three Souls, Each with Natures Divided

Well, whether or not you wrote specific bowings, you still wrote slur markings for the strings, which to them imply bowing information. Whether or not it's explicit, you can always justify your reasoning as the following; "With the given technicality of the work already demanding high accuracy from the performer, I wanted to take today to test if my orchestration would make the bowing information clear and implicit. For today, I decided to give their bowing instructions based on the slur markings in their parts, and following this session, I will amend and update the bowing instructions on the final copy of the score before its first performance." This essentially covers you in case they ask about it

Yes, true...however part of the assignment was to thoroughly mark up the score (that means dynamics, articulations, BOWINGS, etc). We've studied each instrument family in depth to get a sense of the capability of each instrument (what is easy vs hard, how to write idiomatically, what's impossible, etc). We had a whole test on bowings lol

You're welcome! Lol, string players tend to break bowings often to do what's best - depending on the concertmaster too

The one thing I completely missed was bowing 🤦🏾‍♂️😭

Thx bro - you were a HUGE help!! I learned so much.

Nah, you got that, good luck and have fun! Let us know how it goes lol

updated.pdf Any last minute feedback?

I agree...would m. 28 be a better spot?

A Grand and Ghastly Meal in Tartarus (Version II): The Glad Dirge of the Three:

Thanks for the comments, Alex! The piccolo will sound an octave higher than written, so technically it is still pitched above the flutes. I agree! I tried figuring out how to do this in Dorico but couldn't figure it out without it looking weird (hence my note). The "vertical" accents denote Marcato. My interpretation is that they are played stronger than your regular accent and are slightly shorter in duration (a half note maybe played as a dotted quarter perhaps)...each note with the Marcato marking needs to be hammered and short-ish. Err...I guess that is subjective and depends on the context of what else is going on in the score. sffz definitely is more "hammered" than sfz

With your idea for brass stings on the offbeats, consider holding off until later to do it. We're hearing the melody clearly for the first time, and doing some non-written flourishes would be better for after a clear statement of the theme/ later overall in the work. Present the melody clearly and let it develop to that point for extra changes and hold your cards until then imo.

Hi Danish, Really like your orchestration here. Interesting choice in Bar 85, where your piccolo is pitched below the flutes. I think in Bar 9, where you have two harp harmonics played together, you technically should have two harmonic circle symbols on top of each other above the staff. I wonder how you define the difference between vertical and horizontal accents? (The conductor I work with, advised me not to use the vertical ones, as he thought their meaning was ambiguous.) Also, how do sfz and sffz differ from an accent?

Hi Luis, You've achieved some lovely rich orchestral textures here. Think you did a great job with your orchestration! Are the originals considered to be from Schönberg’s early or late style?

Those are very different things. If I buy a hydraulic press and use it to flatten a stainless steel pipe, obviously I'm morally responsible for flattening the pipe. If that pipe belonged to someone else, I can hardly evade responsibility by saying, "Hey, it wasn't me! It was the hydraulic press!" On the other hand, it's equally obvious that I can't lay claim to flattening the pipe as a feat of strength. If I cry, "Behold my strength!" as I hold the flattened piece of steel aloft, I am quite rightly met with, "Uh... you didn't do that. The hydraulic press did."

Honestly, feeling a lot better about this...It needs bowings, but I'm holding off until the last minute to do those b/c I don't play strings anymore lol Main things I'm looking over now Fullness Logical use of instruments throughout Logical flow throughout the arrangement pages 14-17 are looking a little empty I had an idea to give the horns some rhythmic "hits" in this section, but I wanted to get some feedback before taking that entire line out Thank you all so much, I have learned a lot from your feedback updated.pdf

We studied this piece in Orchestration, it was wonderful. Our textbook had different voicings/arrangements of chords w/ audio recordings so it was really helpful. I love this description...it's really a combination of instrument capability & range knowledge, compositional/arranging chops, and creativity. Imagining what you want the final to sound like and using your tool kit to make it happen.

Hello, I will do the overall judging of your piece. First, let me talk about the program notes and also your stunning picture out of curiosity though have you took this to yourself? Anyways, you give a very interesting concept so I’ll see how that ties in with the music and you’re very descriptive. I like to say at first that I enjoy the use of the artificial harmonics This gives a very alien in what I like to call crystalline atmosphere. Almost glassy in a weird good way. I also enjoy the dynamic use as well. As for the change structures, this is the only thing you really listening for so nothing is really a pallet cleanser however, though this is a five minute piece so there’s no need for one. Melodic material : 3.5 Harmony and texture: 8.3 Structure and development 3 Original creativity 7.56 Score presentation 9.79 Orchestration 8.9 Execution 9.04 Taste:7.9 This average is out to a 7.25

Nobodies reviews are more "official" than anyone else's and you're free to review whichever entries you want and in any manner you see fit (you can use the official competition reviewing template or review them any way you want or use your own template). The winners will be decided by popular voting polls.

For judging, I’m assuming that participants could also judge the pieces but for official scores if I’m assuming the moderators will be judging these as well?