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Hi @danishali903 I appreciate your comments and will reply to a few in case anyone’s interested I don’t usually write expression slurs (legato) on the strings, except for very short groups of notes. Instead, if I want to do this, I specify ‘legato’ (as an articulation, which the software I use does recognise) and hide the text. Bear in mind that this is an exercise and that the economy of instrumentalists/instruments has not been the priority, although it was not intended to be used indiscriminately either. That is why there is a piccolo alongside the flute and the alto flute, because that line in bar 18 requires three instruments from the same family. The same applies to the four horns and the tuba. Another of the ideas is that, as far as possible, the families should sound harmonically complete, as in the chord in bar 9. As for the harmonics, they have all been checked and are feasible, though I may have made a mistake. I’ve had another look at the ones you mention and they’re fine. In this regard, I recommend this webpage, which lists all the natural and artificial harmonics that can be played (and those that are best avoided). https://conductit.eu/study-room/rehearsal/rehearsal-4/4-6-string-harmonics/ When it comes to orchestration, there are endless possibilities. Probably, by assigning a few lines to other instruments, I could have done without the piccolo or one of the two horns… But then again, let’s be realistic: when Debussy orchestrated, he didn’t care about the number of instruments – it was all in the service of colour. Best. Addendum The issue of legato slurs in the strings is something I’m going to consider writing about (always bearing in mind what they might do, as I understand it). It’s a more specific point. In fact, as I have a few final amendments to make to this orchestration, I’m going to include that point. Thank you. I’m still at 5% in my orchestration skills.

Yes this is quite informative, its a kind of "Auto-Pilot" concept, where people aren't even aware their functioning in that "Mode". --- it reminds me of : "The Drama Triangle".................present in all Fairy Tales, & Action-Films. 1: The VICTIM 2; The PERSECUTOR 3: The RESCUER example:- Fairy Tales: A: Cinderella was the VICTIM B: The Ugly Sisters were the PERSECUTORS C: Prince Charming was the RESCUER A: Red Riding Hood was the VICTIM B: The Wolf was the PERSECUTOR C: The Wood Chopper was the RESCUER A: Snow White was the VICTIM B: The Witch was the PERSECUTOR C: The Dwarfs were the RESCUERS example:- Action-Films CONCEPT= | MAN HOLDS GUN TO GIRLS HEAD ........WHILE POLICE ARE OBSERVING OUTSIDE | A: Girl is the VICTIM B: Man is the PERSECUTOR C: Police are the RESCUERS And FINALLY the CONCLUSION : Some people can get stuck in part of the "Drama-Triangle" example:- " Years ago my Botox Nurse told me she felt sorry for the beggar outside a supermarket, so instead of giving him money......she instead entered the supermarket,and bought a sandwich for him. She came to the front of the store where the beggar was sitting, and she Smiled and gave him the Sandwich. He replied : - " I DON'T EAT MEAT ! " Conclusion ? She was trying to RESCUE a VICTIM.......................But the VICTIM didn't want to be RESCUED

Here's a musical quote from Mihaly Csikszentmihalyi's Flow - The Psychology of Optimal Experience: And if you've gotten this far, thanks for reading!

ummm.... The problem with these kinds of compositions is: the "Tension & Release" isn't correctly structured with the appropriate "Build-Up" and so it "Flat-lines" , because nothing is happening & It's steady its Safe it becomes a "Clone", in that it doesn't stand out from other compositions Because it lacks "Identity"

I’m curious about what kind of music you were listening to when you composed this.

This is a very evocative and Debussy-like orchestration! Some minor things: I think you can add slurs in the third measure when strings come in. The articulation is suppose to be legato and smooth, and slurs will help with that. Continue the slurs in the viola/cello/bass melody in bar 5 onwards. Same thing in bar 28...and since the violins are PP, slurs would DEFINITELY help. Probably can consolidate the 3 flute parts to 2, with the 2nd player doubling on alto and piccolo. Probably can remove the tuba too since it's mostly doubling the double basses. You might also be able to consolidate the 4 horns to 2. Play around with mixing bassoons or clarinets with horns. Some of the violin harmonics look suspicious...measure 19 specifically in 1st violins.

Hello! As other people have mentioned, this is pretty darned good for a second composition ever. Not finished, but plenty of material to work with and plenty of places to go I think.... I read the title of the piece (Hansel and Gretel), I listen and close my eyes and I can imagine Hansel and Gretel. So, I mean, mission accomplished! I played along a bit on the keyboard and there are some nice chord changes that capture the mood changes. It all seems fairly smooth. Transitions seem pretty good to me. There is enough variation to keep things interested. It really tells a story...I'd be interested in hearing/seeing more!!!

Thank you! I will keep this in mind, I am used to a digital so I have little experience with these things! gooberro

Hello! *disclaimer, I know nothing about Polkas I listened to the entire thing and on first impression is that ending seems a bit too abrupt. With all the nice loud right hand chords...just kinda feels like it's needs another punch in the right direction at the end. Maybe it's because you modulate to Bb and end on the F, which feels like ending on the dominant? Maybe just do the last note with both right hand an left hand? I don't know, but yeah, if that's the not fully resolved sound that you were going for then, mission accomplished I think. Listened to a second time, ending still felt weird. Then I tried to play along with the piece on the keyboard Sometimes, the chords just kinda clash with the melody and the harmony feels a bit off. Like in measure 6/7. Bb, C D in the right hand, and F root triad going to D octaves in the left hand. You end up with this sort of weird class between the A in the left hand and the Bb in the right hand and this sort of "power chord" without any thirds in in the beginning of measure 7. Maybe instead of a F root triad, gotta throw in a first inversion C7 chord. And instead of the D octaves, adding a third somewhere in there. For the nice big loud part (around measure 25), personal preference for my ears...I'd add a F to nice big G chord in the right hand in measure 25, play the G/F with my thumb to make it all sound a bit thicker and maybe transition from the Bb chord nicer. It sounds nice enough the way you had it, so more of a preference thing for my ears. The title is amazing, do all Polkas have funny song titles?

Great job!! I really enjoyed your contrast - one thing I would maybe consider is adjusting some of the evil stepmother section. That register of the piano can be very muddy if not approached correctly. I think adding some pedal markings would help ensure a cleaner performance. I also appreciate how you transitioned between sections. They're not abrupt and are very smooth. I don't really have any critiques - thank you for sharing and happy composing!!

𝗖𝗢𝗡𝗧𝗜𝗡𝗘𝗡𝗧𝗔𝗟 𝗧𝗢𝗨𝗥 | 𝟭 𝗺𝗲𝗹𝗼𝗱𝘆 𝗳𝗹𝗼𝘄𝗻 𝘁𝗵𝗿𝗼𝘂𝗴𝗵 𝟰 𝗖𝗼𝗻𝘁𝗶𝗻𝗲𝗻𝘁𝘀 1: NEW YORK - 2: COLUMBIA - 3: SCOTLAND - 4: PARIS CONTINENTAL TOUR.......NEW YORK - COLUMBIA - SCOTLAND - PARIS.mp3 1 NEW YORK.mid 2 COLUMBIA .mid 3 SCOTLAND.mid 4 PARIS.mid CONTINENTAL TOUR 1 NEW YORK.pdf CONTINENTAL TOUR 2 COLUMBIA.pdf CONTINENTAL TOUR 3 SCOTLAND.pdf CONTINENTAL TOUR 4 PARIS.pdf

Unfortunately the poll has already been voted upon by a large number of people and can't be changed at this time. But we can certainly include concert band as a possible choice of ensemble in future competitions! Edit: I have included "Concert Band or Wind Band" in the choices - although it's not likely to win because a large number of people have already voted (unless they go back and vote again).

Hey! I am wondering if there can be a concert band option, or if I check chamber or full orchestra, if that counts as concert band?

Hi layneleefilm! This piece is amazing. The impact of the percussion is powerful and captures the feel of "The Duel." You have wonderful skills in both composition and music production. The composition is excellent, the way it quiets down at 1:14 and creates an atmosphere of something looming. I like the melody lines, too. I’m curious about what kind of music you were listening to when you composed this. I’d love it if you could share that with me! Best, Lithl.

Hi all! It's been since the first of the year that I posted here...so sorry for going dark for a while. Life got busy! But I wanted to share this piece I worked on in May and have since finalized. It's called..."The Duel". I leaned heavily into drums and keeping momentum going, trying to use some more articulations and varying techniques that are inspired by some of the music I was listening to at the time. I created this in FL Studio using a variety of VSTs...mostly from Native Instruments' Symphony Series. But including a cimbalom from Spitfire Audio in there also, as well as their Epic Choirs. Hope you enjoy the listen and can't wait to hear everyone's thoughts.

A Main Theme created before, the Film was created. EPIC EMPIRE by Mavell.mid EPIC EMPIRE by Mavell.pdf EPIC EMPIRE Main Theme by Mavell.mp3

This will be fun competition to partake in. The results will be interesting!

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Inspired by George Traugott polkas from the 1880s. That composer is practically unknown, so you might as well say it's my own style ;) I think I'm not there yet in terms of harmonic and rhythmic variety, the melodies don't always seem to be developed the right way, but at least the general mood, form and dynamics are laid out. I'm composing in this style of music all the time for 4 years now and I think I've met that barrier when I can't compose any more complex without some help. So any advice on the harmony, rhythm and melodic contour are appreciated. I know the theory on diminished sevenths (there's one in the piece by the way), augments, Neapolitans, borrowings from minor, etc, just don't know how to use them in this context. Cheese with Walnuts.mp3 Cheese with Walnuts.pdf

Congratulations, my dear friend. I liked this scherzo very much. It has a very distinctive atmosphere and great taste. The harmonies are wonderful, and the contrasts make it extremely interesting. I don't really have any criticism to offer. As both a musician and a listener, I found it tremendously satisfying. The only thing I would love to hear is a real performance on an actual piano. Once again, bravo from me.

thanks for all the replies as again I think going by ensemble size is much better. This will also prevent people from pulling a fast one with making “string orchestra”stuff. (a moment, including me that I’m not proud of.). But basically taking something that is meant for five instruments in treating it using patches for a section.

Yes, in previous competitions, when people already had a piece pre-composed WAAAY ahead of time (like years) that fit the instrumentation and other requirements for the competition, they were able to submit it. However, such entries were obvious to the judges and it didn't predispose those entries to being judged favorably as they didn't fit the theme of the competition as nicely. But that doesn't and shouldn't keep the contestants from trying if they wish to do so. To concur with what @MK_Piano mentioned above, I do think we will from now on count the ensemble size by the number of performers/players not instruments. That can include just about any sound that a human being and their available tools at hand is capable of producing (although this can get pretty involved if you care to do so). Also there's a very easy way to get Musescore to only display staves that have events in them (if multiple instruments are played at once like in the case of an involved percussion rack or something).

I will let Peter reply officially to this. In the meantime, from what the sentiment was last time regarding percussion ensembles: 1. Ensemble size starts with the amount of persons and performers. NOT instruments. 2. Individuals can swap instruments. 5-10 instruments can also mean 5-10 persons. However, 5 percussionists can play 2-3 instruments depending on the part. This said, in percussion ensemble, you would not have 15 staves to show all instruments played. Instead, 5 staves (in this example) and use written instructions to showcase the performer changing instruments (see below): You use one stave to mark one performer, however, write in the part when they change instruments. So, for your previous submission, you would need to find away to only use 5-10 staves for 5-10 persons and not instruments. Whether or not previous submissions are okay? That is for Peter to answer.

"Contemporary Composers Sector" ? ...........This Category tends to be in the Minority, as opposed to the Majority of 🪦DEAD Composers. Top 10 Modern Film Composers

just a bunch of questions, but first let me start off with my own disclaimer Right now, I am doing another time consuming competition for music for the next two months so I may not be able to participate however though I love this community and it always gives good feedback so I may have some loopholes I could use to allow me to still participate quite honestly, it would be a lot to have three commissioned music right on top of each other (two from the competition I previously had said about plus this one with one more) [and commission is just what I mean by a piece of music that is called for by a competition given its nature] OK, my first real question is am I allowed to submit previously written music by somehow and by some miracle the voted prompt turns out to fit a older piece I have not submitted for a competition even if I change the instrumentation a bit to make it fit if we do the large mixed ensemble option, the one consisting of 5 to 10 instruments let me just first clear that I do have my own back up plan just in case if this idea is rejected, but is it plausible I could write for a possible 10 person front ensemble (the thing about percussion is that you could have one person with one part pick up two instruments and also some auxiliary percussion such as drum set and rack consists of many things as a combo so just wondering if I’ll be able to do that given my last entry to a competition that use a similar approach kind of gave some controversy it’s very much by tradition that some of these instruments are mounted on upon each other