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Welp, we have a clear front-runner here. Man, this piece is almost flawless. The only thing that comes to mind I could point out would be that the Segno could be better marked. It's not that the way most software and people usually do it is bad, but I myself found it's quite good (performer-wise, reader-wise and lastly it's a matter of tastes) to mark it with segno bars &/or a rectangle surrounding the segno symbol. Example here: . Just a suggestion. The piece itself as I was sayin' was very enjoyable to me. It's fluid, its structure works, you know how to connect the dots very neatly. The instrument choice is very good as well. I like how you don't need to deviate from tonality to get the spooky feeling you. It reminds me of PvZ OST at times, and at other times, you remind me of another composer whose work I have listened to a lot, Paul F. Page. The instrument entries are very balanced, you're stepping into solid ground! What I liked the most though, the return to the segno al fine. It's seamless. The score is alright, perfectly readable... Little I have found to be worth mentioning (I'm very sleepy though so my writing capabilities are diminished). Some overlaps here and there, misplaced dynamics due to software being stupid by default, but nothing else. Congratulations, UncleRed. My kudos. A long day awaits, may you sleep as well as this piece was enjoyed by my brain. Kind regards!

I couldn’t have said it better myself. I don’t feel there’s any need for my input… Lol Though I will add a bit of my own $0.02 to build upon this reply; pivoting off of his use of the word “Uncanny” I think I would also use the same word to describe how my experience with this piece felt. And I very much so agree; If this piece were allowed to mature for some more time, the ideas presented on your score could be spot-lit easily. The potential is there, in black and white! i think you might also benefit from reviewing your understanding of chords, leading tones, harmony, and form. Some of the score feels as if you were unsure of what to do, and just played the “fake it til’ you make it” game until you made it to a stopping point where you could then introduce the next idea that you had in mind. that being said, my advice would be to revisit areas in the score where you felt a sort of “writers block” at, and instead of allowing yourself to “wing it” through, slow down and really analyze what it is that you could effectively achieve. Lastly, yeah… This score wouldn’t be considered “complete” being under the 3 minute minimum, and if this were a true competition, would be immediately disqualified for judgement 😕

Hi Kvothe! This is nice material. Solid at the beginning, but I kind of lost trace towards the final moments of the piece. Sound-wise it does its job very well. The very end felt uncalled for. It was everything but conclusive to me, which can be good at some places but I'm not sure if this is one of them. There are also some unexpected transitions and effects that struck me like "let's experiment with this". Nothing wrong with that either, this is a relaxed and informal competition afer all but... Dunno, I'm quite sure that if you let this material mature it would become way more interesting than what we already have here. Like, from 1:05 to the col legno sections, damn, epic transition. I also like how the col legno blends with the upper string voices, but to put a contrasting example I don't like how the first very strong phrase that sounds again on ~0:30 gets dissolved and transitions to some sort of uncanny fanfare that if extended it could prove to be a worthy piece on its own. Another thing I would like to point out at least superficially: dynamics. There is always room for them, and while abusing them can be a pain for performers, underusing them is not very good either. I think this piece suffers a bit from the latter, but not so much anyway! I notice marcatos, accents, and other articulations, but say, for example: do you want the same strength/volume in the stacatto-pizz. hits in the intro and just after the beginning of the A section? And yeah, let me be honest: I get that sheets are not usually overlooked much but since I myself try to take care I cannot avoid commenting you there are a lot of details that this score needs improvement on. Some examples right here: overlapping rubato, tempo marking —intentionally?— microscopic, and a very minor one that could legitimately be brought up by some nit-picky performer: where does the rubato at the first bar begin? First note? Third? Second? You also have 2 rehearsal marks with "B" at M40 & M45, plus a "C" elsewhere near the end. Finally, let me be that guy and tell you: your piece has not reached 3 minutes, and according to the rules: Not that in this case anybody's gonna take that very seriously, but since it's still 23/10... Maybe this is enough of an excuse to revisit this piece and give it another go? And if it doesn't work, you already got a solid submission posted! Just as a suggestion 🙂 At the end of the day, if what you got is completely of your liking, to the sky with it! May any of my points prove useful to you 🗿 Kind regards, Daniel. P.S: I subscribed to your channel, maybe you could post the video here too!

Let's go @PeterthePapercomPoser

No problem, maybe a point or two less? Just submit 🙂, it ain't gonna hurt... I think

.animated-text { font-size: 16px; font-family: Arial, sans-serif; background-image: linear-gradient( to right, red, orange, yellow, green, cyan, blue, violet ); background-size: 400% 100%; -webkit-background-clip: text; color: transparent; animation: colorMove 5s linear infinite, bounce 1.5s ease-in-out infinite; } @keyframes colorMove { 0% { background-position: 0% 50%; } 100% { background-position: 100% 50%; } } @keyframes bounce { 0%, 100% { transform: translateY(0); } 50% { transform: translateY(-20px); } } Hi again! Here, as promised, I submit this small piece for the Halloween... Competition! Is it Halloween-ish? Dunno, probably not so much... But this is for you to judge. Do NOT expect anything bombastic though. It's a trio for flute, piano and violin so it's 3 instruments. ✔️ It's more than 3 mins, lesss than seven! ✔️ It's somewhat submitted before the deadline! ✔️ And it should definitely be entirely playable. Since here everyone has its own preferences, I am submitting the complete pdf (attached in this very post)+ the mp3 + a YouTube video with the typical (or not that typical maybe) way of showing sheet music. Now, back to more composing. I heard that the competition is strong between the contestants. MP3 Right here (or at the end of the post, one never knows). Bagatela Nº6.mp3 YouTube video HERE. And if you haven't done it yet, what are you waiting for? The deadline for this competition is still a week or two ahead! Look at the rules and drop your piece!!! Kind regards!

Thanks Peter! I actually don't have a decent solo violin for MuseScore, but am hoping to pick one up in the Black Friday sales. Those included with MuseStrings sound hideous, so I refuse to use them! I do have a reasonably good patch from Cinesamples; but it has an annoying bug, where the dynamic is different on each pitch. It takes a lot of work to counteract this, by inserting a new dynamic mark on practically every note! That demisemiquaver (effectively a grace-note) on the flute in Bar 64 is audible on solo; but in the mix it's being somewhat drowned out. If I accent it, the note becomes too loud and squeaky: so there's not much I can do. I think it'll be ok with a real musician; though it's right at the top of the range: so could be challenging to reach. As for fermatas, my composition tutor doesn't like them: so he's instructed me to change time signatures instead. I often find myself drifting away from the opening time signature whilst I'm writing. It seems to be a natural trait of mine. It's just the way I hear/feel the music.

Hello this is my new marching show I'm working on, its meant to be a musical representation of the concept of infinity. The first bits before the hit are muffled because the winds are facing towards side 2 so it should sound more like an echo. Im posting to ask for opinions on this idea and concept

Here is entry for the YC 2025 Halloween competition. I look forward to see what the other have done. The mist

Hello, thank you for listening. I appreciate everyone who spends time listening to my pieces. For me, as an 18-year-old composer who doesn't write full-time, but rather in my spare time, every word means so much!

Hi Petr It was demanding at first, but after a few minutes I got used to your language. I listened not so intently, and it was quite beautiful and never uninteresting once I got used to your color palette. Although not the type of music I generally prefer listening to, your particular brand of it was very enjoyable. I also checked out your string quartet, I loved it! It's very heavenly 🙂

Hello everyone. Here is my official entry of this contest. It is for string quartet (2 violions, viola, a cello, and double bass). The idea behind it was: how can i use the following atonality, bitonality, and sprinkle of halloween fun.

ooooo swag some other boomer had the same idea 😆

You might be interested in this:

twinkle.pdfI made this as a joke, though I ended up kind of likeing how it sounds twinkle.mp3

very mystical vibe, interesting that you still got that despite that a major triad was basically baked in to the theme.

I take it Kat will have some initial struggles, but be financially stable over time. Extremely interesting piece, making great, creative use of crescendo and diminuendo (layered with accel and rit). The constant key changing also keeps up the suspense. Just when you think something is about to resolve, you hit the listener with a sudden tempo, dynamic and key change, throwing off all sense of stability. At least, until we get to the end. Very cool!

MY_MUSIC_001_20240405_231531_123845_AudioVerb_182851507.mp3

MY_MUSIC_024_20241028_081328_AudioVerb.mp3 MY_MUSIC_024_20241028_081328_AudioVerb.mp3

Thank you Sam! Sorry for my late reply as I forget to do so! The emotional direction is completely unplanned to be honest, maybe because I was in such a state of mind when I composed this! The jazzy section is indeed intentional as I want to write something nihilistic. I really love the development section and the build up to climax in it too! Playing this piece is really difficult, thx for your appreciation! Henry

LOL I even forget to reply to my Baby Vince!!! Thx man! Practicing this one is particularly difficult, not only technically, but because playing this every time is like keep revisiting my dark days, but luckily I do write my dark feelings out so I can have a more positive outlook for myself! I play and write what I feel so what you describe here is all what my feeling was when composing and playing it. The confusion of form happens because I was in a confused state when composing it. I actually like those abrupt transitions because I usually write with smooth transitions and I think it's a good try, plus this treatment really matches the music and my feeling. The nihilistically scherzo part is my first try on blues music, I hope my attempt isn't too embarrassing LOL. I do like those passages. Henry

Thx man! I always play my own Piano pieces to prove its playability! Also it gives me chance to modify my writing once I try playing it on a piano. Henry

Yeah Peter, I wrote completely with instincts at that time! Yup, I intentionally didn't try to expand it. I know I am more than capable to complete and expand that fugato section if I want to right now especially after those 5 and 6 voice fugues in my Quintet and Sextet respectively haha, but I wanna give integrity and respect to the 16 year old Henry as well. I know the 16 year old Henry tried his best to write, and even if he didn't do that well, I as the future Henry should retain his integrity, instead of correcting his passages for good! Henry

Hi @TristanTheTristan! This one has a cool atmosphere in it! And I like how you vary the theme. I am more on the playability issue here. The quadruple stops in b.31-38 are unpractical to be played on a real violin, like in b.32-36 any notes lower than the E string would be unplayable with the E string to achieve the quadruple stops. The double pizz. in b.152 variation can also be difficult to play too, as well as the seconds in b.198 for 2nd piano and the octaves for pianists in b.296. Also, I hope there are moments when the first piano's melody isn't the same as the violin's melody! Nonetheless, good attempt to write in a variation form! Henry

Oh my gosh it's casting again! I really like the contrast you bring between the vocals and the brass, with the consonant harmony of vocals constantly disturbed by the brass. I'm thinking of the harp writing as in b.8 it may not be playable as the F pedal is played with the # pedal in b.7 end but need to be immediately turn to a natural pedal in b.8, and the F cannot be replaced by E# pedal either in b.8, nor F# played by Gb pedal in b.7. Thx for sharing this interesting music! Henry