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Like clock work version 2.mp3version 2.pdf Hey. Any chances of getting critique on this composition? Thanks in advance. Some personal things i noticed: Overused rhythm – Effective but repetitive; lacks contrast and becomes monotonous. Sections that don’t fit – Some passages sound good on their own but feel disconnected from the main idea. Ideas needing polishing – Certain motifs or sections need refinement so they integrate better into the overall structure and narrative of the piece. Too much tension There is too much tension in the piece. It needs more release here and there. The main lead could be stronger and more interesting The main idea is pretty good but it is repetitive from the first round to the second round. Awkward transitions There is a few places where there are awkward transitions that needs to be fixed. more modulation The piece stays too much within the same key.

I think I fixed my files

okay done. drums.mp3

go crazy with the drums and see what happens 😊

I think I'll put a piano part after the drop, but I have a problem. Recently I had to re- download windows 10 because my computer was as laggy as a potato, But it messed up my files, and that made It so my DAW doesn't load the right Instruments. I'm actively trying to fix it.

Good round, though!

Would you provide a score?

I don't know what you mean by "having voices 'backwards.'" My guess would be that you either mean that I derive harmonies through melody rather than the other way around or that I sometimes use chord regressions. Neither of these are, in my opinion, though, a problem, and I think much of the music I've uploaded to the net is reasonably solid aside from issues with me often using cheap synthesized instruments.

Basically, have your music more thought through and with a clear idea of the thing and not having voices 'backwards'.

Holy Splinter at Time's Center

Hi! I am a young composer, in 4th grade and I want to be more known across platforms using my orchestral pieces that I compose in and out of school. I have a piece titled Vasilisa's Veil and I want this to gain popularity. The link will be included 😊 Vasilisa's Veil The video linked is posted on YouTube by my orchestra teacher. If you watch it, I appreciate greatly ☺️

Seems about right.

Thanks sir so tenor one around e3 to g4 Tenor 2 c3 to e4 Baritone a2 to c4/d4 Bass f2 to a3 or b3

Yep!

Please be careful everyone................................. 5) The name, surname and category of participation must be clearly written on the first page of the score. The following must be sent along with the score:– copy of identity card. 9) The jury also reserves the right to not to award a prize, as deemed appropriate. https://www.police.uk/advice/advice-and-information/fa/fraud/personal-fraud/identity-fraud/ https://netsafe.org.nz/scams/fake-competitions-prizes https://www.bromley.gov.uk/leaflet/249240/15/758/d https://www.foresters.com/en-gb/learn/our-articles/online-security-entering-competitions

INTERNATIONAL COMPOSITION COMPETITION “GEORGE ȘTEPHĂNESCU” – 6TH EDITION Artistic Director: Piro Gaqi Executive Director: Ilinca Ștephănescu – Neagu COMPETITION RULES The competition is divided into 2 sections: A) Compositions for voice and piano, with the text in Romanian, between 3 – 5 minutes long. – the text may be written especially for this composition, or the composer may use pre-existing text, after appropriately securing the copyright from the text’s author. B) Compositions for voice and piano, with the text in Albanian, between 3 – 5 minutes long. – the text may be written especially for this composition, or the composer may use pre-existing text, after appropriately securing the copyright from the text’s author. General criteria of the contest: 1) Only compositions for voice and piano are accepted for this competition. Any composition that does not meet this criterion will be disqualified by the jury. 2) All composers regardless of age or nationality can participate in the competition. 3) The works must not be previously published, performed, nor recorded (CD, Video) and must not be available online in any form (audio, video or pdf). 4) The scores and all necessary materials mentioned below must be sent by May 1st, 2026 only online and in PDF format to: georgestephanescucompetition@gmail.com 5) The name, surname and category of participation must be clearly written on the first page of the score. The following must be sent along with the score: – participation form (https://www.stephanescu-arephy.com/wp-content/uploads/2025/11/LIDURI-For...) – copy of identity card. – a statement written by the composer attesting that the composition entered into the competition meets all the conditions mentioned in criteria no. 3. – statement of the right to use the text used for the work and whether for this text there are copyrights it must be stated in the statement that the rights have been assigned or paid for/by to the composer. – assigning the copyright to the association for the subsequent publication of the composition. – the author must agree that, if they are declared winner of the competition, the following must be included in all future public appearances of the composition (scores, posters, quotes): “The work won the Sixth Edition of the George Ștephănescu International Composition Competition”. If it’s not specified it can disqualify the work retroactively and may result in the return of the prize. – the author agrees with the fact that for the awarded works the first audition will take place only at the “International Composition Competition George Ștephănescu – Sixth Edition”. 6) The jury will be composed of 3 distinguished members of international renown from Romania and Albania. 7) AWARDS: Section A) The composer of the work being awarded the first prize will receive a cash award of 800 Euros. The composition will be published by a music publishing house in Bucharest and will receive its world premiere at a recital organized in 2026. The composer of the work being awarded the second prize will receive a cash award of 400 Euros. The composition will be published by a music publishing house in Bucharest and will receive its world premiere at a recital organized in 2026. Section B) The composer of the work being awarded the first prize will receive a cash award of 800 Euros. The composition will be published by a music publishing house in Bucharest and will receive its world premiere at a recital organized in 2026. The composer of the work being awarded the second prize will receive a cash award of 400 Euros. The composition will be published by a music publishing house in Bucharest and will receive its world premiere at a recital organized in 2026. * In order to be published, all the awarded works must be submitted in Finale format. 8) Composers are only allowed to submit a single composition for this competition. If several works are sent from the same composer, none will be considered. 9) The jury has the right to award additional prizes or diplomas for other works considered valuable. The jury also reserves the right to not to award a prize, as deemed appropriate. 10) The decisions of the jury are final and cannot be contested. 11) The contest organizers reserve the right to change the contest information if this proves to be indispensable due to force majeure. 12) The winners of the contest will be displayed on our website’s Contest page on 15.05.2026 (https://www.stephanescu-arephy.com/en/contest/) Deadline: 1 May 2026 Web site: https://www.stephanescu-arephy.com/en/contest/

Thanks sir so you say tenor 1 should be kept at g4 for practicality

Explain what you mean by this. It sounds like a criticism, which would be welcome enough, as I'm always looking to improve my technique.

The Creator of the Stars. This one turned out, I think, sounding quite majestic.

UncleRed99: Also, I noticed at M. 67, I have no idea what's goin on there with the ensemble, but it's definitely out of key between all the parts. lol Made me cringe a bit, if I'm honest. As far as I can tell, M. 67 is just an F# Minor chord, with a couple dissonant tones floating around it.

Obviously, this would be a huge orchestration project, and I'll finish my piano sonata first of course!

That is 笛子。Playing the flute is called 吹笛子。

So that is why your notation is... Ahem... Quite interesting....

Amateur tenors can't keep pounding out that high G; prepare it and don't overuse it. Basses as opposed to baritones might not like a whole lot of that E, so usually don't go higher than a D. Something I post like Part Songs or sacred music will take tenors (and sopranos) to A, basses as low as f below g, as high as the high e or even f occasionally, but that would be if I was thinking soloists, and I don't intend that stuff for amateurs.

Interesting; this is what some site gives for Barbershop Quartet, but these are soloists! From highest to lowest, the voice parts in barbershop are tenor, lead (melody), baritone, and bass. The following graphics indicate the common vocal ranges by gender of the four parts used in barbershop arrangements: Male: http://www.barbershop.org/wp-content/uploads/2018/06/malerange.jpg Note the subscript 8 under the treble clef to indicate that it sounds an octave lower than written. This is traditional TTBB notation. For four average male singers, I would just keep it, keeping in mind that with really good singers (pro or talented amateur) one can stretch the ranges a bit.