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This is INCREDIBLE! Great job man, it definetly does fit the vibes. It's just exactly what i was thinking of. I will also send my email to you if you want to talk to me through there I will be waiting for you to finish it! I just love it, also do send me other librettos later for me to check them out, if this was good i can only imagine the others.

Ollo! I will be looking at this score soon and giving some feedback. To preface some the explicit comments I will make, there are still a lot of engraving errors within the score. 1. Page Margins. I tried printing the score from my Google Browser and it increased the page margins of your document/ made the score smaller to fit the page. I would increase the margins by default. 2. Having multiple colors within the engraving. I can understand doing this for pedagogy or analysis, however, for publishing and performance, do not add multiple colors UNLESS it is for specific reason (i.e. Contemporary/ experimental music). 3. Clefs. Glockenspiel does not read a 15ma Treble Clef. Tuba does not read in 8vb Bass Clef. Piccolo does not read 8va Treble Clef. They all read the normal versions of the clefs, however, the concert/ sounding pitch may be in those ranges. 4. Rests. Even in 6/4, 3/2, or 5/4, an empty measure is represented by a singular whole rest, not the dotted whole rest. To add, in the current version of the score, they are all offset. An empty measure needs to have its rest centered on the bar. 5. Rests again. I will make specific annotations of this comment. 6. THE HARP. The harp is not a piano, and comparing to your Piano score, it feels like you dragged piano elements to the harp. To emphasize some of their differences, harpists DO NOT use their pinkies when playing. So, some intervals or passages/ groupings of notes, can become impractical if you just copied it from a piano part. 7. Harp Pedals. They do not need a pedal diagram for every change. A simple, and clearly placed letter will be enough to show which pedal to change. To add, most harpists will just write one in if you only pedal charts. It's visually redundant for performance (in my experience) 8. The Key. Your Title says B-minor, then you open the piece in Eb-minor and end it on a C# half-diminished chord. So... which is it? Are we really in B-minor? I didn't see the key signature for this mode at all. (I have not done any harmonic analysis at the time of this comment) I will highlight some of these comments over the next day or two, however, let these serve as some food for thought. Good work!

i enjoyed it, just like what the other guy had said I do believe in these points as well with the large gap with the Viola and piccolo, and also I believe that you could still written this in alto clef as it’s easier to read as a Viola player

Hello everyone, I am back to feature an overhauled work of mine: The Tuckasegee Flyer. CONTEXT: Originally written in 2024 by commission from my friend, Brody, this work was meant to accompany a YouTube video series he was creating. Two years later, and during this summer, I felt in a trough of composition. I have sketched a lot of ideas for themes or independent phrases, however, I had no passion or inspiration to make them into full pieces. So, after looking through my file system, I looked through this work and immediately, I had ideas. This work is an orchestral depiction of what it feels like to ride behind a steam locomotive as seen or felt by a passenger. If you would like to know more specifics and a longer explanation of the work, go to the 3rd page of the PDF (which is listed as page 1 due to the front and back of the cover page). Thanks for viewing my score and taking a listen! (Comments welcome) This work in its current state would not have been possible without the support of friends and fellow composers. Big thank you to @UncleRed99 for his help with understanding brass ensembles as well as non-YCF composer @Arbolav for his help in the development. You two elevated this piece and I am forever thankful! The Tuckasegee Flyer_AUDIO.mp3 The Tuckasegee Flyer_SCORE.pdf The Tuckasegee Flyer_SCORE.pdf

Here's the first bit. The rest will come in about ten days' time. See what you think. I wish I were still at high school - I'm much older though still lively, I hope. JSWRM Pericles.pdf

Good to hear from you. I'll send the 'Pericles' libretto in about a week's time. I shall be away for four days next week but will send it on after that. I may get the first scene out to you today - it's an extended musical section. The play dates from about 1611. You may think the lyrics too elaborate for a renaissance/baroque setting but at least you can have a look. I'll include a summary of the plot. The original play is a piece of romantic magic realism - lost daughters rescued from the sea etc. My version has some dialogue linking songs but not a great deal of it. The music carries most of the story. Till later with best wishes, Riccardo

I don't use DAWs , my main music notation app is MuseScore , also the section that you mentioned as a bit repetitive is my attempt on a tocatta and also I am not formally trained musically as I mainly go to online sources for music theory The reason why I marked Opp. is because it is a bunch of other works that would be transcribed into solo piano Anyways , thankies for the feedback

DJ BONUS TRAX Hi Guyz ROYALTY-FREE | COPYRIGHT-FREE | NO CREDIT REQUIRED Backing Trax, for songwriters, producers, artist, & SINGERS. 1: STRUCTURE : CHORUS, VERSE , BRIDGE , | DOUBLE CHORUS-ENDING | 2: TEMPO : 120 BPM 3: GENRE → EDM : CLUBLAND 4: ENCODED SETTINGS : 320 Kbps, CD Transparent Audio | 44,100 Hz, 16 Bit, Stereo, MP3 5: DOWNLOAD : Right-Click PLAYER | Save Link As DJ BONUS - FEEL THE BASS 1.mp3 DJ BONUS - FEEL THE BASS 2.mp3

Oh, just another competition, while I am just a little bit exhausted of the previous one, so that I – while following the poll – even missed to vote at time … As the more „restricted“ suggestions for the competition’s subject did not win, we now (once again) have a more „free“ one: „From Nothing, to Something“. I must admit that I am currently in the state of „Nothing“ ☹️, but hopefully there will be „Something“ within the next few weeks 😊. That’s why I’m declaring my intention to participate in the competition - even if I can’t make any firm promises.

To give some background to the work, here my immediate repost, where I share the piano score and the piano rendition of the excerpted fourth episode from the original fugue. Comments and questions about the piece are welcome. Episode4-Fugue-B-minor.mp3 Episode4-Fugue-B-minor.pdf

My dear fellow composers, after some weeks of quiescence, I’m presenting to you today my first attempt at orchestrating an existing composition for a full symphony orchestra. The „sketch“ I have chosen is a composition of my own, a huge six-part quadruple fugue for piano in B minor, from which I picked the fourth episode being a transitional section between the development sections. I especially love that section for its modulations, its slow arpeggios and the interwoven voice leading, which finally leads to a calming point on a diminished seventh chord before starting the next fast development section. As I have no experience in orchestration for an entire ensemble, all kinds of feedback are appreciated. During the last few months, I thoroughly followed the excellent reviews of @MK_Piano on orchestrated scores, so that I hopefully got around with the most obvious pitfalls due to its help. However, there are a number of open questions remaining. I hope, you’ll enjoy the piece. Wieland Episode4-Symphonic-Fugue-B-minor.mp3 Episode4-Symphonic-Fugue-B-minor.pdf

Also, note: I can not comment about instrumentation/orchestration for the score is piano score. If you want us to do that, a full score should be provided. This is why I am cautious about AI in music.

I'll edit the post to include the process with as much detail as possible. I'm a bit winded by the work, so bear with me, while I "catch my breath."

Thank you for answearing! Yes! I would love to see these librettos that you think it would fit, these poems you sent are awesome! Currently i'm still in highschool, so i would probrably work on it on my free time, i will still see if its even something i can do now or later. But do send me your librettos and the ones you think would be appropriate!

Still interested?

I'll check when I get home :).

Why hello there! My gosh! The many textures and colors in this piece is fantastic. I love the haunting vocal line over the lush, enchanting strings and the wood runs. The piano part is a chef kiss. I can understand why you choose to not have a brass section. They are often loud. That would take away from the mood from this piece. To me, I can hear in this in haunted mansion ride.

Here's what I can say about this: I love the haunting lyrics that match video. I am curious to know your process. What your set up is.

@Grant Weep Firstly, I'd like to say that I really appreciate the time you took to listen and write such thoughtful feedback. It's also lovely to see someone going through the score with such care! The Denisov piece was definitely an interesting recommendation. I found the corruption very unsettling! it actually made me feel uncomfortable in certain sections! The concept itself is fascinating, isnt it? I also think it works particularly well with multiple instruments. An orchestration where certain instruments represent corruption while others clarity and structure could be a really interesting idea to explore. Good catch on the notation issue. That was definitely an oversight on my part!

Yeah, how you wrote this. Can you explain to us your process? What tools you use and why there is not full score. That will help those who want to review (including me) greatly.

Hello, @Liaway! Welcome to the Young Composers Forum! Just to start, this topic is dedicated to piano and keyboard works, so while you'll see a lot of classical pieces here, it's perfectly fine to post anything that fits the instrumentation. Don't worry, your work is a great fit for this space! You'll probably receive detailed feedback later from composers who are far more knowledgeable than I am, but I’d like to share a few thoughts of my own first. My first impression was that this is a really gorgeous and nice piece. It has a rich, full sound, and I enjoyed listening to it, especially the first section. I also liked the interesting progression in the section starting at 10:48. On the other hand, the volume balance in the part starting at 2:28 and around 5:15 stood out to me; it felt extremely quiet. I found the section from around 6:52 to 10:40 a bit repetitive—honestly, it started to feel a little tedious. It feels like there are so many ideas packed in that being a bit more selective could really help the piece come together better. Of course, that’s just my personal preference. Also, overall, it seems like you're still getting the hang of handling articulations in your DAW. It can be bothersome work, but since it's a piano piece, simply tweaking those details could create a much deeper, better listening experience. Then again, that’s just something that comes with practice. Oh, and one small thing—the title in the topic header is listed as "Opp." :) Well, I wasn't even composing when I was 15... so the fact that you can create something like this at that age is amazing. I’m not in the music industry myself, so I can't say for sure, but it seems like you have a very high level of skill in composition for your age. I guess you have studied music formally, maybe. Anyway, I’ve pointed out a few things, but I think the piece itself is great! There are many wonderful people in this forum, so I hope you enjoy it! Best, Lithl.

styginis kvartetas.mp3 styginis kvartetas.pdf

Very well done! Thank you!

Hello you all , it's me here Liaway (this is my nickname/pseudonym to not say my real name) I just recently found this forum which looks like a great ground for feedback and appreciation on my work and I don't know is it on-topic or not but I think my work fits pretty well with Classical music so I'd post it here I'd like some feedback on my work as I am currently 15 Op.2 No.1 Audio (no image) (1).mp3 Op.1 No.4 (C1 , Ossia added).pdf

It sounds pretty good to me. The thing is, I don’t think music actually ‘describes’ anything. It’s a different matter if you explain which image or situation it accompanies, as is the case here. And yes, I think it fits that perfectly. I like the bit at the end where a section comes in – I’m not sure if it’s brass.