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@Asgarzade Music School Fancy seeing you here. To answer, Henry question. Possibly yes. :) @Henry Ng Tsz Kiu if you know members who earning to learn this, @Asgarzade Music School is great.

This Concludes the | Trilogy Template Series...................This one's My Favorite Part 2 of the TRILOGY Template-Series :

Not normally, no. They are standard in our industry. The only time it would be broken is when you have a larger ensemble or other instrument combinations that are not standard. In this case, it’s not about orchestral order, it’s about highest-> lowest instrument for the layout.

@MK_Piano Thank you for the help! Are there exceptions to break normal score order? And yes now, see that now, it was blockish in arrangment. Good point

I'm pleased to present this new website of musical tools that I've recently developed. I hope you find it useful, and any suggestions are welcome. https://emusic.tools/en

Hello! It is time. As you asked, I have delivered. Attached on this comment are my annotations on the arrangement thus far. Directly under, I have attached a sample PDF and sample Audio file to pair with my notes. The notes are found at the end of the current score and if you have any questions, please do not hesitate to ask! Kvothe - Reger Humoresque (ANNOTATED).pdf Attached Files: Kvothe_Example.pdf Kvothe_ExampleAudio.mp3

This one recalls a dream I had about the Land of Oz, with me specifically visiting the Emerald City. In this dream, I got a glimpse of the ancient fairyland in its modern incarnation. Apparently, like the United States, the Land of Oz is in a bad state at the moment. It was recently ruled by a dictator who had his heart--in both senses of the word "heart"--removed, and the magic native to the realm has gone out of control, as is the wont of magic. Anyway, enjoy the music.

Hi @Henry Ng Tsz Kiu! Below you will find in depth review of this haunting piece! First, let me say what your piece reminds of. It reminds me of Chopin's Nocturnes and Rachmaninov musical moments and preludes. Both, in their on right, wrote lush, emotional themes over triplet 8th pattern. In fact, Rachmaninov used that pattern in his 5th prelude. Nonetheless, we can still bass patterns in our own works! I love how you establish the harmony using that pattern over theme. The pattern slowly changes as the theme moves. The chromaticism creates sense of mystery and wonder, by the way. The transition into the B section is exactly what we need to hear: a break down of the thematic material before a new section! (why does this remind of Franz Listz) After we hear the B section, we return to A, briefly, to remind us of the haunting theme we heard at the start. Then it finishes all together. Overall, I thoroughly enjoyed this.

slow mo slowmo.mp3

A tribute to the Late Liberace 1970's World famous highest paid musician and pianist | Net Worth $115 million https://www.therichest.com/celebnetworth/celeb/liberace-net-worth/ https://en.wikipedia.org/wiki/These_Foolish_Things_(Remind_Me_of_You) LIBERACE TRIBUTE.mp3

I would be tempted to just add a caesura marking between the repeated section and the continuing bars of #5... Since this is a work for solo instrument that doesn't need coordination between players, there is no reason you can't trust the musicality of the soloist to add an appropriate amount of rest. It's always nice to see something written for solo instrument, as so many of them are a bit neglected by composers. Very enjoyable and I think a live performance would bring out the phrasing nicely.

Hi, today I come with a waltz haha. In this piece I wanted that 1-2-3 “waltz” sound in my own style. I composed this in a short period of time so I couldn't develop a variation of theme A. However, I like how it sounds. Someone who listens to the piece said it has a “distorted Beethoven sound” that is interesting haha; what do you think? I hope you enjoy c: Vals No.1.mp3 Vals No1.pdf

Exceptionally Professional.....Well Done. That Dunning-Kruger Effect, is SOOO True

An artificial intelligence's remix of my composition.

@Alex Weidmann No worries. Yeah, that makes sense. :) Some programs are annoying to work with score set up. Trust me, I know. (haha...finale). But..hey..I enjoyed it!

This is an old song of mine I just reworked & added an Ai vocal to replace mine; The guitar playing is all me. Unfortunately my health prevents my continued adventures on the guitar. Oh, I also rewrote 2 of the verses. When I Went Down.mp3

It seems I'm still kicking. I revised this one quite a bit, with an Ai vocal to replace my cruddy tones. Somethin U Got.mp3

another recent song Tuff 2 Bluff2.mp3

A recent song No Good Comes From Goodbye.mp3

As the month of May begins, we are excited to share that the 12th edition of our Young Composers Competition is now accepting applications. We encourage everyone to visit www.thecapitalhearings.com/competition/ to learn about this year’s theme as well as guidelines and official rules for the competition. All U.S. & Canadian residents age 18-40 are welcome to submit a 2-5 minute original composition (arranged for mixed, unaccompanied choir) related to this year’s theme. We especially welcome submissions from unique or underrepresented perspectives – and in unique or underrepresented styles. Submissions are due by July 5, 2026, and a prize of $1,000 will be awarded to the winner. All applicants will be notified of final award decisions by mid-August, 2026.

Dear friends, Please find attached my second attempt to write for theorbo. I wasn't very happy with my first effort; but I think this one has more promise. Not quite sure about my ending though. Does it fit? Any suggestions for titles would be helpful too, because I can't quite think of one at the moment. Theorbo piece #41 (midi).mp3 Theorbo piece #41 (midi).pdf

Many thanks Luis and Kvothe for your comments! Yes you're right, the score is a mess! It's designed for midi rendition: so I haven't tidied it up yet. Where I have separate staffs in the woods and brass, it's because the material is too complex to combine into one staff. Although I do have more work to do on assigning a2 and solo passages. The piccolo was sounding very shrill and horrible at Bar 87: so I tried to pull it down with the pppppp! In practice that whole cadenza-like passage needs rewriting in some kind of modified gesture, because it doesn't translate very well to orchestra in this literal transcription. The large jumps in woods and brass would probably be difficult to play: so I will try to change those somehow. Maybe by alternating between instruments? I will try pulling up the dynamics on the vibe, glock and harp, though I do want them to be fairly subtle. N.B. My tempo is much faster than the original piano work, because I felt it sounded better that way. Wonder if others agree with this choice? It's a lovely work that's not especially well known: so hopefully I'll be able to do it justice in the end!

Hi all, it's been a really long time, I decided I wanted to come back and check out what's going on! I also wanted to share two successes of mine in the past several months: Slipping, which was written in early-2025, written for Symphonic Orchestra, was performed by the California Youth Symphony in November 2025. I have attached the score and two recordings of it, one MIDI and one of the performance. The Dunning-Kruger Effect, written in mid-2025, written for String Orchestra, was performed by my school orchestra, which I conducted. I have attached the score and here's the video: https://youtu.be/CQBDUVbKEpQ?si=psCVro_MLM3NfmEV . Looking forward to seeing what's going on in this forum after so long! Slipping.mp3 Slipping FINAL MIDI.mp3 Slipping-score.pdf the dunning-kruger effect score.pdf

Hello I have to say that, overall, it sounds very good. Without being a super-expert in orchestration, I think I’d take a closer look at a few things. For example, there are some very large leaps that could be handled differently, such as the bass clarinet and oboes in bars 9–10, or the tuba in bars 107–109. There are other examples too. I’m not familiar with the original version, but perhaps it’s a bit too literal. There are very low registers for some instruments, such as that piccolo arpeggio in bar 87. And with an impossible pppppp dynamic, which is also incongruous: as it ascends, it doesn’t make sense for the volume to decrease.