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maths... again...

Hi, I'm new so not sure if I'm supposed to comment here, but I wanted to say I'm amazed by this work. Really impressed with the natural dramaturgy of music flow as well as usage of contemporary harmony, rhythm, melodies. Glad to hear something new and exciting like this, keep it up ^^

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 10 10 10 10 9.5 6 8 Average Score:9 very good The chromatic double stops in 1st violin might cause some to throw the score at you.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9.5 6.5 6.5 9.5 10 10 5.5 9.5 Average Score: 9.5 Very good Th exaction for this competition was to write a piece between 3-7 minutes with a sweet spot of 5 minutes. If this was formal competition, it would not make pass the first round. There was a lack a proper form and devolvement in this piece; However, it was creative and original, and certainly the score looked professional and if this was delivered to players, they could read it. The melodic material was design.

@Omicronrg9 That was a long reply, so I may just focus on one aspect versus all of it lol. In all of the accompaniment work and chamber playing I have done, I would say most, if not all, of the scores had smaller staves for non-piano parts. I will attach a collection of links from IMSLP showcasing Piano trios from Mozart and Beethoven. Both Henle-Verlag and Bärenreiter-Verlag use reduced staves. Since smaller works do not need a conductor, the pianist usually gets the full transposed score. Allows us to follow along and coordinate with the musicians more specifically. With the stave spacing, I feel I should clarify that it is fine to read as is. I have no issue following along with it of course. It was more of a taste comment versus a "better or worse" comment. In my personal style, I like to space the staves by three to six measures if able. I think seeing it a little bigger on the paper can be easier for the performers eyes. Myself and other peers read our music off a tablet and use a bluetooth pedal to turn the pages. So for me, page turns are not an issue if there are more pages. Lastly, with system dividers, again, it's a preference. You'll see on these IMSLP scores that even big-publishers will put some kind of measure indicator. On ASCAP and J.W. Pepper, composers will use rehearsal marks. On IMSLP, publishers will put system numbers or sometimes measure numbers every 10-measures. If they are doing it, why can't we? I recommend other composers to put some kind of measure marking as we have to remind ourselves that other people will be playing the music with no previous understanding of it. It's a small cosmetic change that doesn't affect the music, but will add a convenience to anyone who plays our work. If you were to compare to mine, I go so far to ensure that a new rehearsal mark goes at the beginning of a new system when I can. A little visual detail that coincides with any new idea or important spot in the score. At the end of the day, this is some food-for-thought! 🙂 IMSLP: Mozart | Trio in C-major K.548 Beethoven | Trio in Eb-major Op.1 no.1 Beethoven | Trio in Bb-major Op.11

haha you know what, I actually will find all these format ok and I find your score here easy enough for me to read through while playing my part.

That’s nice to know

Thank you!

I wrote a ballet a few years back! Notes aren't too hard since it would've had to been prepared pretty quickly, but I've always been more about screwing around with rhythm and meter, anyway. Forgive the recording quality: I had to make to scratch tracks and I only play cello, so I had to record all the parts except the bass and piano (except the plucking) 😅 Maybe I'll upload the other movements later, but this one is pretty interesting on its own, I think.

See my attached notes; sorry, I only marked the first version, not the second. I'd say if there's one thing to really focus on, it's making sure that your harmonies are very clear. Even if they're not yet completely functional (Baroque, sure), they do need to be very precise. I notice you use a lot of 4ths and 9ths or melodic configurations that result in fourths or ninths, and they're very hard to tell what the harmony is because the inversion is ambiguous. You'll see I marked a few things consistently: obviously try to fix parallel perfect consonances, but we also need to avoid parallel dissonances as well, especially in a two-voice texture. Speaking of parallel perfects, in a measure-for-measure harmony piece like this one, you need to make sure you're avoid parallel perfect consonances in first species; you can't just get away with it by adding some passing notes.

The next competition/challenge will probably be the Christmas music Event and that will be completely open with no particular requirements in terms of instrumentation, or duration.

OK, then I’ll probably opt out of it then. Will there be any ensemble competitions? Anything that’s featuring a full orchestra or string Orchestra or like that

You da G O A T my friend

God damn it's true I'm just listening to Barenboim's rendition of it🤣. I may try again with glisses and fluttering, on some other piece that is 🗿. Thank you for your feedback Henry :). "01010100 01101000 01100001 01101110 01101011 00100000 01111001 01101111 01110101" 🙂 I sadly see this in dark mode Thank you Tristan! Seems I passed the test this time! Hi MK_Piano! I tried doing that but the margins don't seem to be updated in any config. I myself have printed a lot of my own scores and ended up preferring two:10mm and 15mm. This time I went with 10mm. I attach this video, perhaps you see something I do not. I checked other printing options and found out one that would increase my margins, but wouldn't increasing margins make margins bigger anyways and then I would end up having a lot of extra margin (My margins + Bleed)? Thanks for the heads up, perhaps I'm still missing something. Video here (I can't upload mp4s). I also tried with other printers and that is when the extra margins came, but I had to activate them. I had some handmade notebook with margin = 15mm at hand. Is this something that only happens with margins less than 15mm? What do you think of a piano part with reduced staves of the other instruments? What would you prefer as a pianist? Full score with dividers, full score but reduced parts that ain't piano, or just piano? Would it be a 100% one option no matter what? Am I asking too many questions 😁? @Henry Ng Tsz Kiu as a pianist yourself, what's your take on it? I'm also interested! For example, in this case we have 0 blank bars in the piano part. I would have thought it's spaced out enough. E.g: It's 10-8-7, and all quarter notes in page 3. Would you make it 5-5-5-5-5 or 6-7-6-6? Doing it any less than 5 when no instruments are playing would be difficult for me (matter of tastes), I could do it on demand of course. 🥶 I'll think about it. I don't tend to in compositions. Just in waltzes! I always do it in arrangements. Why? Not sure. I guess I have not seen them much in anything else than modern music and others' arrangements, but it's a good practice. That or circling bar numbers, but I guess that's less aesthetic. Thank you man, it's always cool when someone comes and makes you ponder your choices and you get to learn a thing or two at the very least. Thanks for your feedback and your optimism 😁. Hoping to stay for a long while this time. Time is scarce but I'll try to catch up! I'll vote for you Kind regards!!

I just listened to the piece and the only thing keeping it from meeting the requirements for the competition is that you're using ensemble strings patches instead of solo strings. If you use solo strings, this would be a great string quintet and would meet the requirement of being for 3 to 5 instruments!

Your piece is for orchestra. This is a competition for chamber works for between 3 to 5 instruments total.

Try fixing the dissonances and especially the 7ths as this is baroque dance.

Sounds much better!

OK, I wanna enter a piece inside of this competition. Where should I enter it? Should I like do something special or can I just post it here? I declare my interest to enter this competition.

possible performance notes: one May fear that uncertainty is one thing. Not knowing what’s ahead of you is definitely something people fear but what if there’s the opposite. Inevitability. You know it’s coming, but you do not know when. Well when it does, it leaves a strong lasting mark you could either look back or run. But your fate is you’re going to have to deal with it no matter what…

I must confess, that with enough time, it could be possible for myself or peers to sit down and play this. However, mainly because myself and my friends are high-in-skill concert pianist's capable of complex repertoire. My logos in thinking comes from the idea of the music being "theoretical" or "practical". In my opinion, practical music is a lot stronger than "theoretical" music. While on surface level/ on paper, this score seems possible in theory. This does not mean it is the most practical or effective way to write the music. You have to keep in mind the type of performer capable of playing this. Humans need time to move the hand, their fingers, turn the page, and more. A high schooler or middle school pianist will not be able to play this unless they have had extensive training. Even I hesitate to pick it up because simply be looking at the music, and comparing it to all the music I have played, I can tell it will be uncomfortable to play in certain spots. If I were to give this to my mentor, who is a student descendent of Chopin, he would never play 4 note tremelos, only 3 notes long and switch. On the trill variation (no.3) he, and myself, would only play the trills as mordends versus proper quarter note trills. This said, challenging music is okay to make, as you can't write music to conform to everyone. Two things can be true at once, and while it may be a challenge to play, it is also uncomfortable for the average pianist. To end, your ideas are good/ fine, and I don't mean to say this piece has no merit. Instead, if you were to ask 3 musicians to sit and play this, they would have a tough time and may ask you if changes in their part would be okay.