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Just have to fill in the development; enough for now! Especially with Noteflight's enharmonic errors when transposing!

I have just updated the track "Save Them!" to be more complete and correct - I had originally transcribed it slightly incorrectly and left some things out. I also corrected some dynamics so that the Violas can be heard. Thanks for listening!

Piano Sonata in A Minor-I Free Sheet Music by Robert C. Fox for Piano/Keyboard | Noteflight Not finished, but the introduction and exposition, without all the notes filled in! It's interesting so far...😆 Edit: have the exposition.

Can you clarify what you mean by “constant mixolydian C natural throughout the piece”? It goes over my head, do you mean stay in G major and go back at b.126?

Thank you for the review. I definitely will revisit those E's and I may change the accent.

Hello everone 🙂 My first post here is part one of larger composition I am currently working on. The composition is called The Great Lighthouse and is inspired by Christopher Paolini's book Fractal Noise. Part one is written in largo - A minor and is called Discovery. Please enjoy and any feedback would be appreciated 🙂 Musescore: https://musescore.com/user/60829534/scores/32485457

Back to Back A:- John Williams : Superman / Jurassic Park | Movie Rendition Jerry Goldsmith : Total Recall | Movie Rendition B:- John Williams : Indiana Jones | Movie Rendition Brad Fiedel : Terminator 2 | Movie Rendition Jerry Goldsmith : Judge Dread | Movie Rendition John Williams - Superman - Jurassic Park - Jerry Goldsmith - Total Recall. Movie Rendtions.mp3 John Williams - Indiana Jones - Brad Fiedel - Terminator 2 - Jerry Goldsmith - Judge Dread .mp3

In modern staff positioning, the choir is above the orchestra. Alo, put phrase markings on the woodwinds. Your recording is playing it legato but they won't read it that way. Also, in real time, reading one line(alto) in the choir with flats and sharps like that is a huge cognitive dissonance Since it is descending, make that G# Ab. You are already showing Db or Gb in that phrase. That augmented 2nd is the devil in the Soprano part. Make that Eb instead of D#. Gb is cool, F# is the bane of our existence. OF COURSE, we can read in F# major, but no wants to. Gb is better. Lastly, you can break the rule in the last measure. Instead of having the mezzos go higher,swap with the sopranos. Love the piece.

There's some great stuff here. I urge you to listen to the aforementioned. There is GREAT advice given!

I thought I'd share this short prelude I started last year and finished soon after (which I originally intended to use for Valentines' Day this year, but alas...). I haven't been writing much new stuff and am currently working on fixing up a few of my older compositions so this was one of the few things I did manage to conjure up in the past few months. I hope it's listenable? (as for playability, arpeggiating large chords is a must, haha)

I reckon the work invokes a certain warm and inviting mood that I seem to put down at least in part to the harmony, which isn't overcomplicated and at the same time not just simple triads. I, for one, love the descending material in bar 11! The rocking syncopation I also find to be pleasing and gives the piece a little bit of movement lest it become a little stagnant. Cycling some of the thematic material to the left hand from bar 20 is a nice touch. This is completely based on taste, but one thing that perhaps I'm not fully convinced by is the pedal E, occasionally accented, in bars 24-31 in the right hand; it, to me, seems to lend that section a leaden quality that strays somewhat from the generally contemplative atmosphere of the other sections? Apart from that, I did enjoy this work quite so. Writing music for other people is always somewhat daunting for me but I think it's really quite a nice thing to do, and compositions I find serve rather well as gifts. I hope your daughter liked it!

The 1st MSCN International Film Music Prize is an international call for emerging and early-career film composers who wish to challenge their craft at the highest professional level. Created by the MSCN Film Music Festivals Academy, the award recognises exceptional talent in film music scoring, celebrating clarity and imagination in musical storytelling alongside professional-level technical skill and presentation. Designed as a serious artistic and professional challenge, the prize highlights composers who demonstrate maturity, narrative awareness, and a strong personal voice in writing for the screen. Distinct from many film music competitions, the MSCN International Film Music Prize is defined by its demanding structure and comprehensive evaluation process. For its first edition, composers are invited to create an original score for an exclusive sequence from The End of The Neubacher Project (2006), directed by Marcus J. Carney. The selected film material places particular emphasis on placement, restraint, emotional intelligence, and the meaningful use of silence and space, challenging participants to demonstrate control, sensitivity, and dramaturgical awareness. The jury will evaluate submissions with close attention to dramaturgical timing and cue placement, emotional restraint, the expressive use of silence, spatial awareness within the film, musical clarity and narrative cohesion, and the overall professional quality of the score’s technical execution. The MSCN International Film Music Prize welcomes submissions from emerging and early-career composers worldwide. The competition is open to all applicants regardless of age, experience, gender, education, or geographic location. MSCN actively encourages participation from individuals belonging to underrepresented groups. Applicants must submit a completed score for the competition film sequence, including a video file of the fully scored film with synchronized audio and a standard professional cue sheet. All valid submissions will be reviewed by the film’s director together with an international jury of professional composers, educators, and industry professionals. The prize recognises outstanding work through one Gold MSCN Award and two Silver MSCN Awards. The Gold Award includes a professional orchestral recording of selected cues with the Budapest Pannonia Film Music Orchestra at Pannonia Studios (valued at €1,300), mentoring during the preparation and recording process, and extensive professional written feedback. Two Silver Award recipients receive full scholarships to the MSCN Film Music Festivals Academy (valued at €500 each) together with detailed written feedback from the jury. Early Bird registration is available until 30 April 2026, with a final submission deadline of 16 June 2026. The winners will be officially announced during SoundTrack_Cologne 23 (14–17 July 2026). For more information: https://www.mscnfilmmusicfestivalsacademy.com/mscn-international-film-music-prize

What I feel like would be a better version is if you made this a canon. Then to end it you end with that starting theme.

A beautiful piece. It doesn't seem very complex, but it's very well structured (which, for me, is one of the biggest challenges). And the dynamic control is exquisite.

Things added - drums- riser at start- bass near end part- added instruments for beat drop- anyway, here it is:

https://www.youtube.com/watch?v=7x7rf-YpS7E&list=PLiE7K7q7K-Uv6JjIVF5EUzVzvZQ2YrXIP&index=41 Audio-score

this piece was composed with me hearing absolotly nothing while in the making of it, I wanted to see how well can I make pieces like that. yipieeee.mp3 wadanada.pdf

So very Nice to see even Admin, contribute Content, with such a High Degree of Contemporary Quality.

remix

I have just updated the post - up to 13 themes now!!!

Good for you! I'm too embarrassed to share my earlier works lol

Here's a very short piano composition I composed for my daughter many years ago. Nothing extravagant .... simple theme and tone. Mark

Thanks for the comment! I’m sure there could be plenty of changes to do, however, this work was one of my earlier attempts at writing for the orchestra. A time before I got any composition feedback from any mentors. I thankfully won a competition and spent a week working with composer Robert Bradshaw. During that time, he gave me tips on voicing, orchestration, and understanding tessitura. My rewrite was not to completely redo the work but polish it with the new information and techniques I learned. So, while I appreciate the feedback, I will not be rewriting certain spots in the work as I still want to keep it as is to show my growth overtime.

What can you do with 3 notes then?

This is a very well constructed piece! I think it's a little too on the "safe" side. When I envision a piece about storms (be it Vivaldi's Summer, Beethoven's 6th, Alpine Symphony), I want to hear rapid scales (especially in the strings and woodwinds), wild tremolo in the strings & percussion, and more dissonant chords in the brass. Maybe I'm biased after listening to those pieces. I think the D major section (starting around 94) is too similar in terms of orchestration as the beginning. I think this should be more brighter sounding, maybe with some instruments playing an octave higher than written (for example violins/violas in 126). In general, a little variety would help differentiate this section.