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Hello @Vasilis Michael It is refreshing to see a binary sonata form. Binary was primarily used by baroque period composers before the proper form took off. In the A section, you would have your primary theme in tonic. Followed by contrasting B section in the Dominant. What makes binary stand out: the lack of transition between the two sections. Or maybe there is one(?) We can tell there are two major sections. One that repeats and one that follows after repeat of first section. Ergo. binary! I love how the main motive is used thorough out the entire piece. It moves so flawlessly. As usually, your writing is on par! I could not hear anything wrong. :)

Hi Tristan, This sounds very nice! I would suggest finding a different composition software to use, however. The spacing of the notes on the page is a bit all over the place, which makes this challenging to sight read. Musescore is a good free option that sorts that out for you automatically. I haven't used Vocaroo, but I understand it has some AI features for editing recordings?

I love how this one turned out. It's remix of a piece about the art of magic and the magic of art.

For the first time in my life, after watching a few harmony videos, I wrote this waltz. I'm curious to hear your opinion. https://voca.ro/1juGRRVoFhLh Walzer in G-dur.pdf

@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.