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Thanks! It was definitely fun to do. I actually been meaning to update this post. After some chat with @UncleRed99 about Cello playability, I simplified the cello part in the third movement for ease. Overall, a good result for at the time was a silly little project. 🙂

I like this „petite“ piece for just four instruments (which is not for a large orchestra). It doesn’t require sophisticated orchestration skills to achieve the desired effect; instead, it works well with its “simple” four parts. Starting already in the first three bars, all four instruments have the equal right and equal importance in playing the melody. None is the soloist, while the others are „degraded“ to accompany only. Although I would not call it „counterpoint“ in the academic sense, it works. Sharing the melody or the various motifs among the voices creates an atmosphere of „dialogue“ between the instruments that captivates the listener.

I very enjoyed this dreamy prelude with its nocturne-like charm. What I was especially excited for is the tonality, e.g the use of both F-sharp major and G-flat major. (I mention this because my last recently posted composition is in G-flat major/F-sharp major, too, while not a prelude but a fugue …). I guess you’ve chosen that key change to emphasize the different nuances of mood in the piece, the sharps for the brighter passages and the flats for the melancholic ones. The texture is well balanced and I like that you decided to present the score with revealing the five-part movement. As you yourself noted, there are some large chords which are playable with arpeggiating only. When I’m looking at the score at the first glance, there are – beside the large chords – some intervals that seem to be uncomfortable to be played. However, many of them are playable when taking a note in the other hand. I would appreciate, if such situations would be written out or marked in the score (even if it would look somewhat cluttered) for an easier sight-reading experience.

*Sad face*

Ties between members for the day won are broken by seniority. So that means that Luis won the day because he's been a member the longest - Henry has been a member 2nd longest and you have been a member here for the shortest amount of time which is why you didn't win the day that day.

I didn't win that day. The rest is just common sense.

Just saying, I want a new competition soon. Thx!

Nice stuff. F Sharp?! Why? So many sharps! Anyways, taking a guess, the next thing you compose is in F Flat Major.

As he himself said, new simplicity.

I agree! I have to get used to it, but that us fine. I love that you can see the profile without entering their page!

Thanks! I’ll be honest, there was no real plan with this one 😅 It happened out of a test of boredom and I did it for fun rather than be sophisticated with the ensemble balance. Thanks for the comments! (The 2nd Mvt is my favorite too)

It seems to me a very beautiful work. What stands out to me is that it’s conceived more as melody with accompaniment—sometimes quite elaborate—rather than in a contrapuntal style. The second movement is gorgeous.

Thank you very much :). My latin jazz chord hyperfixation from many years back is clearly showing itself xd

It’s very beautiful and reminiscent of Brazilian harmonies.

It’s a composition that sounds very harmonious and sweet. I haven’t taken the time to analyze it, but that middle section caught my attention (the key signature change).

If you mean this note... Yes! Better a D.

Hi @kaiyunmusic ! Great job with this piece! It's bittersweet-ness is exquisite! I especially love the creative use of hand crossing to give the piece some sparkle in the high range despite keeping the melody in the alto range. The half-cadence at the end is a perfect way to end the piece with a longing for more. Thanks for sharing!

I really love the new feature of showing the views of a pdf file. Also the vintage brown color is back! Really love it. Henry

Hi @Wieland Handke ! I concur that the listening experience is greatly enhanced by the color coding in the score to let the listener know what to listen for! Perhaps the most interesting part for me was when the subject gets shifted by a half-note within the measure. I do have to say that there were many discordant moments in the fugue where I felt harmonically ungrounded - but the ending was satisfactory so I guess all's well that ends well! Would you say that this is an example of a ricercar rather than a fugue though? I think ricercars are more known for slow note values. Thanks for sharing!

Hi @Luis Hernández ! Nice job on this orchestration! I did notice an apparent mistake in the horn parts in measure 6 - the top note should be (I think) a concert D (written A) since the harmony there is a G major chord. Overall though I think you really include a lot of fun interplay between the parts! I think it was very clever of you to fragment some of the phrases into question and answer contrapuntal roles. Like for example the interplay between the 1st and 2nd Violins in measures 28 - 29 is really a very creative orchestration decision! Thanks for sharing and I hope to hear more orchestrations!

Hello Yenne Lee First of all,Your Guitar rendition is Exceptional & Meticulously flawless Concert Material , followed by a Huge amount of Applause. Regarding The Style of "Bossa Nova" , it isn't Fixed to one Tempo Only it can Vary . The Original Composition Tempo Above was Approx 194 BPM Where as the Composition Below is Approx 85 BPM Id be interested to here your "Orchestra" behind your Flawless Guitar Renditions posted here one day.

This forum update was a big one, which is why I put it off for a year. But I have about 90% of things back. As of now, I just made another update. MP3s and PDFs are back and with improvements. We have proper view counts now (finally!). I will be working on getting our old colors back, and don't worry, the logo will be back too. Hopefully I can also bring back the chatbox, I just need a few more days. Another major update which has been quite hidden, is the integration of a new music notation software that I've been working on for some time. That's why I had to update the forum, I'm getting ready for a release of Version 1 soon. The early adopters of Music Jotter will be migrating here and I'll be using the forums for issues and customer management. I'll also be opening up a subscriber tier (The forum will always remain free but the subscriber tier helps me develop Music Jotter, for those interested in the new technology). Overall, this forum software also should be a lot faster, so hopefully we see some improvements with speed!

Yes, congrats on the software refresh. But i also want to echo that it used to have the look/feel of a creative, low-key, grassroots composer’s group. Though the cartoon images were a little corny, i appreciated the vibe. Now it looks/feels like a cold office. If that’s because its taking time to reupload style, then you guys are probably already on it.

Hello everyone, I don’t know whether this is the correct section to post concerning „technical problems“ and suggestions, but I’ll try it. Congratulations to the software refresh of the Young Composers Forum! However, since I’m working in the software branch, I know that customers can sometimes be a nuisance because they’re the first to notice what isn’t working or seems not to be working, or when something has changed from what they’re used to. So I'll have to get used to the new layout first. What I really miss – and I am sure I’m not the first one and that the staff will be already on working around that problem – is, that the attachments, i.e. the PDF files with the scores and the MP3 files with the recordings seem to be lost, which is a big problem for reviewers. Apart from that „bug report“, I noticed that there are a number of placeholders which await to be replaced by real pictures to make the forum „colored again“. Since I’m working for a while on my own website – which I would to present to the members of the forum, too, once published – I have done a lot of „artwork“ during the last few month, so that I could contribute a few pictures as well, if appreciated.

Interestingly enough, I'm playing Wave (Bossa Nova) by Antônio Carlos Jobim with my orchestra. My comment with the composition that it has a "disco" feel to it rather than a "Jazzy Lazy" quality.