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On the one hand, yes, it can be less daunting to work on smaller projects at first. On the other hand, you don't seem to be daunted, and look at how much helpful feedback you have gotten by making this brave attempt that can guide you going forward! The bigger the piece, the harder it is to get it performed, but in terms of learning, write what interests you. That will keep you writing, which will keep you improving. 1. If we are never allowed to share what we write until we feel we are on par with Beethoven or Brahms, the world of new music is going to dry up. 2. No one says you need to stop with this single draft, you too can keep revising this piece for twenty years. 3. I bet Beethoven and Brahms shared what they were working on during their 21 and 30 years of sketching and revising, it's how we keep finding new things to fix and are encouraged to keep going, so keep writing, keep revising, and keep sharing periodically. I never learned to knit because though I tried to learn several times, the people who taught me always insisted I start with a scarf, and I would diligently get about a foot in with nice even stitches and be dying of boredom and ask if I could put it down and try a simple pattern for a hat or pair of socks and they would refuse to share the secrets of hats and socks until I had made several more feet of scarf. So if working big is what interests you, to me, that's fine, as long as you don't need the encouragement of seeing things performed, which is easier to get with shorter pieces for smaller groups of musicians. As long as you are interested, you'll keep going, and that means you'll keep learning and improving.

Cry me a River | Cover (1953) : Chorus Variation Cry me a River Chorus Variation.mp3

Here is a (I think) better arrangement of the piece. There are no new parts but I was unsatisfied with the most recent arrangements.

Since this is in essence a revised version of my earlier Enharmonic Perpetual Canon No. 3, whose single contrapuntal flaw replicated across all voices requiring a modification of an octave leap which ultimately ended up necessitating a transposition of the whole canon a perfect fourth higher, I decided to change the title of the entire series thus far to "Pantonal Perpetual Canons", as the previous title didn't quite serve as an accurate descriptor of the technicalities within the compositional process that gave rise to these pieces. Due to the necessary integral transposition of this work, however, the coda's newly resulting ending key (F-sharp/G-flat major), the only key along with its relative D-sharp/E-flat minor that displays an equal number of accidentals when enharmonized, far too many inconsistencies relating to the enharmonization of melodic intervals can be found in this version. Normally I would have managed to transcribe the melodic theme across all its internal transpositions in a way capable of satisfying apparent melodic continuity throughout the notation process, but due to the ambivalent quality of this key when it comes to enharmonization, not even the coda could be perfectly transcribed without far too many double accidentals. As such, as much as it irks me to see it like this, I have had no choice but to leave the currently notated version of this canon as is. The choral lyrics of this canon (once again, in Latin) translate as follows: "Change is inevitable in all things. Everything flows in the balance of those who are tempestive." As for the coda, its own lyrics further drive the meaning of these aphorisms to greater clarity and realization. YouTube video link:

Welcome To Fabulous Las Vegas Jazz , A Universal Language. Welcome To Fabulous Las Vegas.mp3

@interlect I appreciate the comments! I must admit I am a little confused. The work acts a means to capture differents scenes about the ocean. In order, they read as follows: 1. The Shore | Waves Crashing 2. Sailing over the Waves 3. Swimming | Seeing the sea life 4. Getting lost 5. Seeing a whale 6. Travelling to the shore | Sailing 7. Returning to the shore 8. End The competition also has a minimum length requirement and there is not enough time for me to completely overhaul the piece for the chance of creating something so original it will wow older professional musicians. This has already taken 3 months of work over the last year in on and off periods and is meant to be a little programmatic so it can fit other concert cycles. I think it is both a piece fun to play as an ensemble and fun for the audience as there are a lot of things that one can imagine when listening and not have it feel stagnant. My reservations are with the execution as I feel the flutes, harp or certain instruments will get lost in the texture(s).

Hello MK I would like to be Brutally Honest , and Hyper-Critical in my Review. Starting with : 1: The Cons 2: The Pros "A Call for Scores competition in Colorado" 1: The Cons- I suspect that the Judges will have heard 100's of composition entry's over the years, to the point where they've slightly Switched off, with thoughts of: "We heard it all before", Nothing Original. Your "Intro" to the start of your composition, seems like a waste of time, what are we waiting for, and why are we waiting ? 2: The Pros- Start the Composition @ 3:40 | THIS is where the ACTION starts,and will Wake up the Audience, as well as the judges. Not only will they not be expecting this, but it will also evoke Originality,making you stand out,by elevating your composition to a Whole new level, compared to Who they had to listen to Before,and after your presentation. Your arrangement of the instruments and the quality of the performance,is of a very high Caliber, and shows Experience and wisdom in top quality Composing. I wish you Luck.

If you are aiming to be like Malher, you have huge shoes to fill. Per section: Triple or Quadrable woods, 6-8 horns, 4 trumpets, 4 trombones, 3 tubas (I think a wanger tuba); percusion, and strings. That is a large orchestra to write for. I recommend not writing for that. Not at first. Trying writing for string orchestra first. and then go from there.

Hey everyone, I have just finished completing my newest orchestral work. I have done so for the purposes of a Call for Scores competition in Colorado and I am very excited. I find that the work is completed, however I do feel there is potential for extra material or amendments to the current score. I am a little worried about playability in performance and in the Harp and Horn parts specifically. From my understanding, everything is playable and there may be some challenges. However, I am looking for an extra set of opinions and ears to give me some feedback. I do not mind comments of varying facets, but would prefer specific feedback on ensemble execution and individual parts if able. I appreciate any who comments and am eager to hear your thoughts! ______________________ I am keeping information limited as to avoid the judging panel finding this work before they rate my score. It has yet to be submitted and if you would like to know more about the score, go to the "About" section on page 4! SCORE_Waves of Frisco Bay.pdf

No, it was MuseScore's built in theorbo, in their MS Basic sound font.

The issue has already been fixed. We can now see the whole score.

This sounds awesome! Just curious, was this made using Sound slice?

The Concert Choir of Northwest Missouri State kindly included this piece in their fall 2025 concert program. Thanks to the singers for all their hard work! You can hear them here:

With the Israeli genocidal war on Gaza having only recently "deescalated" under a so-called ceasfire, a new genocidal war launched by the US and Israel against Iran, and the Israeli genocidal war against Lebanon relaunched in full-intensity, as well as the Russian-Ukaraine war going on since 4 years, I think now is as appropriate a time as ever to share this piece I composed last year and myself performed and recorded recently: Three Sententiae for Baritone Solo, Op. 389, "A Prayer for Peace" (Based on Three Biblical Verses). I hope and pray that peace, however elusive it seems in the present, will soon become a reality all over the world.

ROCKY (1976) Theme Cover A Classic Film ROCKY (1976) Theme Cover.mp3

Can you download it or open it in the web browser?

Hello Luis Very Impressed by your Presentation, i presume this is a "Cover" of Mendelssohn. Which means if you can re-create such a Complex piece, then creating your own "Original Composition" will be No Problem at all. Regarding the Production quality, im amazed how Crystal-Clear the treble Range is, i hope to match that pristine sound hopefully one day. In the Meantime i shall be looking out for an Original-Composition from you soon, as i know you can do it, and do it really well.

I can only see the cover page of the score of the pdf....

Hello @Luis Hernández! Having just listened to your orchestration in comparison to the original piano work, I must say that the brass orchestration perfectly matches the character of the “Hunting Song.” The piano version is also beautiful, but it doesn't convey the image of a forest where hunters play before or after the hunt as strongly—perhaps this was also because the recording I heard was at a much faster tempo, which would have been uncomfortable for horns, trumpets, and trombones. In the semiquaver runs, the french horns sound somewhat to „soft“ what might not be the case in a live recording (while the trumpets retain their typical brass timbre), but despite such nitpicks concerning the realism of the software reproduction, the entire piece sounds well balanced and there is nothing „rattling“ (that’s what I call it whenever there is something that had to be improved according to the listening impression). A beautiful, authentic orchestration of a classical piece that captivates with its very own character!

Hello @PeterthePapercomPoser! This piece is cool and absolutely weird! I’m totally confused when I try to listen where the lydian fourth is! It clearly appears in each bar on the first beat (to be read as F#, but transposed as E). However, it sounds not lydian but seems to be somewhat a leading tone to the following G (sounding F). And more interestingly, the long E in bar 3 (sounding as D) has for me the typical lydian character. This must be due to the accompaniment by the phrygian harmony of the strings. The chord [F - Cb – Bb – E] (which is very dissonant) resolves to Bb minor totally absorbing the lydian character of the E! Whereas the Bb major chord [F - Bb - D] in bar 3, second beat brings the expected brightness! This impression is very similar to the combination of the Lydian Augmented and the Spanish Phrygian scales by @Gwendolyn Przyjazna in her Iridescence (progressive rock instrumental), where the (augmented) lydian scale appears to be much „darker“ than traditionally expected and the (spanish) phrygian scale sounds much more „brighter“. So all in all it is a harmonically interesting piece and a brilliant example what can be done using those scales (and not being stuck with only major and minor).

After I while withouth posting anything, I decided to share these two lieder that I wrote for my Harmony lessons. I tried using a chromatic language and I really like the results (although my teacher always finds errors in everything), what do you think?

since I post a lot of songs that aren't relevant to each other, I made a whole thread instead.

Thank you very much! Yes, this score really does have many colors and is only for analytical purposes. But it makes it clearer (especially for me) where the subject entries are, where inversions, augmentations, diminutions etc. occur. Interestingly, I don't usually highlight the countersubject, except in this fugue. And while writing the above explanations, I activated these additional color highlights and noticed that there was a recurring countersubject even used in inversion and for the episode material (which I had already forgotten in the last four years) ... The post with the second part (linked above) contains the “normal” black-and-white score of the entire fugue, which I also prefer to play from.

Thanks for listening! I was inspired by Bachs arias along with French Impressionism. There’s something I find so meaningful to a Bach aria, whether it be the strong and determined bass or the complex chord structure of the high clarion/flute feature. As for the French Impressionism, I am fond of Ravels La Lavse which I first pictured as an organ symphony. This lead me to picture permafrost, a desolate hunk of ice and sediment. Lmk if u have any other questions or thoughts! I plan on sharing the audio/score soon.

Jurassic Park Theme Cover Such a Simple Melody, and yet so Famous. Jurassic Park Theme Cover.mp3