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I didn't know the ship sank

Melodies Themes Motives and Harmony Chords Textures: As inherently for a piece for drums, the motifs are more rhythmically focused, than melodically, although the usage of pitched percussions introduces melodic passages. The textures are well balanced given the piece a natural unfolding. Form Development Structure Time: I couldn't identify any specific traditional form or structure, so I would describe the piece as a series of different scenes, which is perfectly fine as long as the music is designed to illustrate the story you're telling. Originality Creativity: This was your intent to focus on and you have nailed it! You deliberately took the risk of potentially losing points in the other criteria due to this instrumentation, but I consider that a wise decision. Score Presentation: This is a comprehensive score, which makes it difficult to read and follow (I literally can’t scroll fast enough), but the intention to present all voices separately helps the reader follow the details for as long as they like. And although the curly grand staff brackets look a bit strange, they clearly express your intention to group that particular „voices“ together as one instrument. Instrumentation Orchestration Playability: The orchestration is rich and well blended. Concerning the playability, I think you have distributed the playing and resting voices well, so that each of your „drum instruments“ shall be playable by a single player. Execution of Given Challenge: There have been discussions whether or not your piece formally meets the requirements of the contest to have „any combination of 3 – 5 monophonic or polyphonic instruments/voices“. And as there where „a Pierrot ensemble“, a „kazoo trio“ and a „quartet of Tibetan throat singers“ mentioned as examples, I can well understand your creativity to assemble your own five polyphonic drum instruments from all sorts of “sound-producing” objects. So my judgement is therefore that you did not violate the formal criteria of the competition, while being borderline. However, the result you ultimately presented makes me happy to turn a blind eye: You impressively depicted a somewhat mysterious scenery in a wood - which perfectly corresponds with your story. Taste: I enjoyed the piece as a welcome change from the other, more traditional romantic compositions. And since it’s well composed, it holds its own among them. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7 8 6 10 7 9 9.5 7.5 Average Score: 8.0

This is one of my first orchestrations, and I would really like some feedback. "Where did all the time go?" is an emotional, mentally exposing, orchestrated piece meant to connect with everyone. The story behind this piece is to represent how priceless time is and how time flies by so fast, and we sometimes never take the time to enjoy it. It reflects our lives—from our first steps to the defining milestones of maturity. This composition demands total emotional transparency from the performer; the music flourishes only when the performer fully commits to that emotional truth. Throughout the score, recurring motifs serve as a narrative engine, guiding the listener through the distinct and shifting phases of a life well-lived. Where did all the time go

Melodies Themes Motives: The only perceivable motif is the ascending two-tone-repetition, mostly in fifths. Harmony Chords Textures: The texture seems to be more or less „random“. The harmonies fluctuate between simple intervals and unplayable clusters. Form Development Structure Time: I would say, it is in „free form“ since I could not recognize any traditional musical form or structure. Originality Creativity: Yes, it has clearly a kind of „originality“ and „uniqueness“ among all submissions in the contest. Score Presentation: Although a score is provided, it raises more questions than it answers. Which instruments are playing? What key is the piece in? How is a musician supposed to read up to nine ledger lines? Instrumentation Orchestration Playability: Since there is unclear which instrument is actually playing, the playability is hardly judgeable. Some of your „chords“ or clusters seems to be unplayable on every instrument. Execution of Given Challenge: Beside the criticism on the other criteria so far, I’m a bit disappointed that you did not take the contest as seriously as it could be easily done (even with few or no musical skills). The task of the contest was to depict a landscape musically and this subject inherently requires to think about what you want to represent in the piece first. Therefore it is not understandable for me submitting the piece without having a title or idea. And honestly, I do not associate the mood of the piece with „rainy weather“. Rather I think of annoying insects circling around me. Taste: I don't really like music that sounds unnatural, like it's coming from a music box. However, your piece—though annoying—offers an interesting contrast to all the other romantic pieces that might lull you to sleep if you listened to them one after another. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 3 2 1 8 1 1 5 5 Average Score: 3.25

You'd be close, except, forget "tall" and forget "Muscular" I ain't that purdie 🤣 I'm 5'11", Hairy, and slightly pudgy, with some visible working man's biceps. That's about it, for my appearance. However, I've always thought about the contrast between my Burliness as a hairy mechanic & the sorrowful / meloncholic / emotionally charged theme of my original music scores to be quite humorous, myself 😅 I suppose my music can be percieved as a representation of all the things that I'm unable to say outloud, what with the social stigmas in the USA for Men that place an emphasis on refraining from expressing emotions, verbally, or through crying etc.. Music provides the outlet for some of those emotions that our society deems unacceptable for me to display. Anyhow. Thank you, Wieland, for your kind words and detailed feedback of my piece. As I stated before, I know that it isn't my most complex work... Life kept me from feeling the same desire & inspiration as I have before, while also preventing me from having much free time to actually work on the thing... I feel it could be so much better, but that's the best work I'm able to offer, at this current period of time, on short notice 😮‍💨 Thanks, again! -Unc

oh i was kidding but i didn't know that.

Hello @UncleRed99 ! First of all, I’m (once again) impressed by the “warmth” of the sound in your pieces. Whenever I look at your profile picture and think about your job as a mechanic, I picture you as a tall, muscular man, sweating in the blazing sun, covered in oil, and dragging two heavy tires across the workshop yard. (Haha, I could be completely wrong about that, and it’s really none of my business, so please don’t take it personally…) But this in mind, the contrast with your mellow and somewhat melancholic style is fascinating: you every time capture it with well balanced instrumentation. Looking at the picture of your submission and the title „warmth“, I was first a bit confused, since the autumn valley depicts that the warmth (or even heath) of summer has passed away. Thus, the „warmth“ you mention must come from inside (from the buildings and/or from the people living there). Melodies Themes Motives and Harmony Chords Textures: The piece thrives on its serene harmonies, which are presented in various motifs by all the instruments in a gentle interaction. I particularly liked the modulation in measures 95–97, which captures the listener’s attention. I would have liked to see more moments that break up the otherwise tranquil flow of the harmonies. Form Development Structure Time: The form reminds me of a „theme with variations“ which is fine, but naturally carries the “risk” of a certain repetetiveness. Originality Creativity: Yes, there is no „crazy“ idea, such as a weird instrumentation or an unusual rhythm, but you emphasized your own, personal original style (as initially mentioned). Score Presentation: The score is clear and professional with no issues. Instrumentation Orchestration Playability: Even you have not chosen an „exotic“ orchestration, the sound produced by this traditional ensemble is unique: I love how the mellow piano blends with the string instruments which sometimes have a surprisingly beautiful touch of woodwinds, perhaps like a clarinet. Since the piece avoids complexity and virtuosity, it should be perfect to perform and is thus one of the few submissions that has a chance of being performed live. Execution of Given Challenge: Musically, the piece perfectly captures what you described and depicted in the picture. Taste: It's a piece that's pleasant to listen to and has a calming effect. However, there's a risk that you'll quickly start listening to it only halfheartedly. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9.5 9.5 8 7.5 10 10 9 7.5 Average Score: 8.875

You know you can change the title of your work by clicking and holding on the title right?

Just thought I'd insert the place where Alex taught me how to counteract this effect in Musescore!

goodluck

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7 9 7 10 9.5 7 5 8 Average Score: 7.8 Review: This is a very creative piece, starting with the painting (which I love) and the concept. I’m not sure the music in particular evokes that for me, but it’s so subjective... It’s true that the piece goes beyond what was supposedly the challenge. The combination of instruments is original. I think the French horn works well in this ensemble because it has such a powerful projection. Although with virtual instruments, it’s sometimes easy to alter how it would actually sound. There’s a strange shift in style, but I like it. It reminds me of a contemporary opera written in a non-tonal language where, suddenly, everything sounds like jazz. The score is very good, though is there a reason why the piano is printed in a larger font? I also have doubts about those multiple stops, even with techniques like con legno.

oh yeah, thats a little better lol

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 9.5 10 8 9.5 10 10 9 Average Score: 9.5 Review: In this work, there are many motifs that intertwine to shape the piece and form part of its driving force. The harmony does not seem particularly far removed from tonal conventions, but it does include effective modulations. The turn it takes in bar 96 towards the end is very beautiful. The form is very clear and the sections are well defined, with a contrasting central section that works very well. The arrangement is fairly standard, but the chosen sounds capture the character of the landscape very well. Perhaps the piano, although evocative, sounds a little dark overall. The structure is very clear and the sections are well defined, with a contrasting central section that works very well. The combination is fairly standard, but the chosen sounds evoke the character of the landscape very effectively. Perhaps the piano, although evocative, sounds somewhat muted overall. The score is beautifully presented and I believe the challenge has been met; indeed, amongst the many pieces evoking landscapes, this is one of my favourites.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9 9.5 8 7.5 9.5 9 10 9 Average Score: 8.9 Review: Melodies/Themes/Motives - The work is rich in motifs and themes, some of which are readily apparent, whilst others are deeply woven into the fabric of the piece. Harmony/Chords/Textures - The texture is dense, but the individual parts are clearly defined. Form/Development/Structure/Time - I sense a progressive structure, but it’s by no means boring. Originality/Creativity - It is a standard, effective combination. Score Presentation - The score is correct and easy to read. Instrumentation/Orchestration/Playability Reading the comments clears up any doubts about double or multiple stops. Execution of Given Challenge - I think the author has succeeded in achieving his aim.

Thank you, sir I'm glad that you were able to enjoy that, despite it being a piece that, frankly, I had difficulty finding inspiration writing for... This was definitely difficult, to me, and I certainly feel like there could've been more done within it's current duration to elaborate on the overall consensus of the story the notation is trying to portray. Personally, I feel that it's a bit repetitive, with a couple of nuanced expressions of the original idea spread throughout... which is fine, technically, but makes for a less impactful story in the end. I just hope maybe others might think differently but I suppose that has yet to be seen and we'll know for sure as more members comment their thoughts here. Thanks for the feedback, and the kindness you've shown my work :) -Unc

or... or.. hear me out... "Death of a Spartan" 👀

Thanks, Henry! The delayed recap you mention is something I came across in JC Bach's piano quartet in G major during my early studies. Likewise, he commenced such a passage on a diminished 7th of the home key that marked the end of the development section. It is less of a trick in my view than a way to build momentum towards the initial theme (opposed to commencing immediately after the dim7th that may otherwise encourage reflection). Your note about the slides between non slur notes is informative. I really don't like it either but didn't understand why it does this. I wonder if by adding slurs it resolves the issue. All the best, Markus

weird...

Great work, I througholy enjoyed it. Quick notes: your main motif that first appears in the horn, you should use sharps instead of flats, as in A# instead of Bb because you're then leading into the B. Just the more easy to read version. A piccolo to flute switch cannot happen as quickly as you have written on page 4. I have a feeling you know this an ignored it for play back but still worth mentioning. m. 90 oh my god so stunning. Shook me to my core the same way when my favorite character in a movie dies. m.120 B natural not Cb. Really beautiful melodies and accompaniment. This is phenomenal work, regardless of if it is your first. However there are some general things to mention. The first is the doubling, or in your case, half-the-orchestra-ing. Every composer has done it, but it almost always in the beginning of their orchestra careers they do so. You’ve written a phenomenal melody here. Right now, it's heavily doubled across a massive chunk of the orchestra. It's a classic trap we all fall into because the melody sounds so good we want everyone to play it! However, when everyone plays the melody at once, we lose the unique fingerprints of the individual instruments. What if you experimented with passing the melody around like a torch? How does the emotional weight shift if a solo cello introduces it, and then a clarinet takes over? Try giving the melody to fewer instruments at once, and use the rest of the orchestra to create distinct, evolving textures underneath. Make us believe that this specific instrument is the only one that could say this part of the phrase. Also for the accompanying instruments, find new ways to accompany so even the double basses can have something interesting to do. I myself wrote (and still write) works similar to yours, but I would recommend fighting your desire for the super double, instead finding new ways to fill the space with sound. You'll find this in most composers, but my favorites for understanding this is Brahms, Tchaikovsky, and Rachmaninoff. Also resources: Principles of Orchestration by Nikolay Rimsky-Korsakov (Korsakov is a huge stickler for reduction in the orchestra to maximize color) The Study of Orchestration by Samuel Adler

Nice work! Very Pleasant.

New title “Death of a space knight”

Play this movement with Romantic Rubato; Rachmaninoff without the black notes! Really, the whole sonata could be looked at as Rachmaninoff with the accidentals gone AWOL, but reserve the free romantic rubato for the third movement. Measure 210 with its overlapping, duplicated D looked goofy to me at first too, but it has to be that way and should sound as if it were possible!

A quick scan of the score while watching a YouTube video tells me the part writing is at least basically correct, and that it seems to be Haydn Light in style.

Of course! Mouvement de l’Air.pdf

Entry: The voyage of the sunken ship. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7 7 7 10 10 6 2 8 Average Score:7.12 Review: Execution: One of the requirements is write a piece with in 3-7 minutes. This was 9 minutes. The overall aura of this piece is mixed. At times, it gave off eerie mood then it didn't? Score Presentation: The score was readable and there were no engraving errors. Instrumentation: The imbalance between the strings and horns is problematic. You could not horn at all! Watch out for those stops in the string part. Make sure they are playable! Creativity: Yes, this a creative piece. The over structure and form of the piece is hard to determine. I am not sure if it is sonata, or scherzo, or something else... In general, I would want to see him grow as writer and see more of his works. He has the potential! I love what he did here.