All Activity

Score presentation: Thank you so much for presenting us a score. That goes miles when you want feedback. It helps us to follow what we are listening. Yes, indeed, this score does need clean and polish. The first thing is to remove the empty bars. There is no need to have them there. Second, you have cleft change, but it is barely visible. You probably want to find want a way edit that. Also, go through, and check collisions and everything is line up. Clean up the rests. Use trills instead of 32nd notes. Remove legar lines as much as possible! (b87-88 needs to re worked with out legar lines). Thus: elimate b43-57 and b89 to end. If I was to score to in a competition, It would be probably get a 4-6 because of these errors. In Ternary or a minuet and Trio it is one piece not two. Might consider that. I do not what I am looking when it comes to form? Sorry. I am lost. I do notice you have second version of your dance. I will look at, too.

Alas, it would not fit the meet qualifications for the competition: 1. It is at solo piano piece. 2. it is only 3 mins long in length. The sweet spot was 5 mins. Now, I can review it as solo piece, but I still score. Please post that when you have that. Thanks. @PeterthePapercomPoser I am willing to review this. I am just awaiting the score.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9 8 8 9.5 8 9 10 8.5 I can't believe this is the guy who created The Crusty Candy Cane! Great use of instruments to create atmosphere. Fun motifs throughout, lots of "I'm being chased" scenes, and you portray this while still being musical, which is awesome. What intrigues me about this slasher-esque piece, is when we get to around 4:30. It gets really emotional here, almost like, a monster who realizes his identity, and expresses grief momentarily. This is such a brief, heartfelt emotion. You pivot quickly back to horror, but in my opinion, this amplifies the emotion that much more. Melody and harmony: The melody/theme is easy to identify, it's catchy, and can easily be heard throughout. My very first impression, after the first few seconds, I thought this would be more of a "mood piece", but nope...if you keep listening, there definitely are clear themes. Form and originality: A structured, fun free-form work, very original! Score presentation and playability: Score is easy to follow, simple 4/4 time throughout. Triplets help break out of the 4/4 rhythm, to keep time signature sane. Great dynamics and very articulated to help intensify the mood. Execution and taste: Very Halloween-like in the slasher sense, with an incredible heartfelt section at around 4:30, where you momentarily change the mood. This is a moment of self reflection, and possibly realization of what one has become, before going back to terror.

Thanks!

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 8 9.5 10 10 9.5 First submission and it sounds like this? Intro is awesome! Your harmony is spot on, and keeps the entire piece moving along wonderfully. That's what harmony is supposed to do. And the melody and beat are amazing! I'm not usually a fan of the strict classical music style, however this piece changes my mind. If done right, this can be an amazing style. You put in your own flair into an old style and it works beautifully. The only criticism I have is tempo. In my opinion, you need to slightly increase the tempo, which is an easy hack. Do that, and you have yourself a fun lighthearted Halloween piece that can be enjoyed by both kids and adults. Melody and harmony: You absolutely broke this metric. Many people are good at harmony, but when it comes to melody, this is where they fall apart. Not only do you have a fun, memorable melody, your supporting harmony amplifies it. And to top it off, your beat breaks the metric even more. Well done. Form and creativity: Perfectly easy to follow, and you took a standard style, and blew it out of the water. Score presentation and playability: This is where I am impressed. Your score is SIMPLE. It's in one standard time signature, and everything looks standard to play. But this is what's amazing to me. Despite how simple the score looks, the musical idea is far from simple. Music is more than just the notes and rhythms we hear. It's about the full idea, which you conveyed in a simple, well organized manner. I can learn a thing or two about this myself. Execution and taste: Again, you destroyed this metric, the music matches your vision clearly, and I felt the vision musically.

Entry: Diptych for Piano Quartet (Submission) Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 10 8 10 7 10 10 10 Average Score:9.3 very good Review: Execution of Given Challenge: 10 The entry is written for piano quartet and with in the time frame 3-7. Therefore, this piece would not be DQ, if this was official competition. Taste: 10 This piece set up to plate and swung and hit. Although the bases were loaded, it scored. It certainty created established the Halloween mood we all experience around this time. Something is always lurking. It is there. Slowly lurking in the background. Score presentation: 7 When it comes 8va marking, you might use loco markings afterwards. Just a thought. The harmonics and knockings notation is clearly marked (more knocking later). Each string technique is also visible for the player. I imagine this was a live performance. However, most scores usually have rehearsal markings. Or have every bar measure. That way, during rehearsals it is easier for them. "let start at measure x or rehersal.." Instrumentation (ect): 10 There were advance strings techniques that young musicians would not know, but if this was given to a group who knew those, they would be able to play them. Thus, it just depends on who you are writing for. The instrumentation and orchestration of the piece was executed well. The strings balanced well with the piano and with each other. No one overpowered each. Haromy and textures: 10 The knocking at the end definitely was nice surprise. It definitely caught me by surprise. The natural harmonics in the violin add coloristic effect at the second movement. The clusters was nice, too. Form: 8 It is hard to describe what the form in this entry. It does not fit any traditional forms. The overall structure seems to build on single idea that slows evolves (?). Motives: 10 The melodic and motivic material is well designed Overall this piece is creative and orginal 10

Wow, I'm truly amazed with your music here. What an incredible contrast between movements and I absolutely adore how you use tonality together with contemporary expressions/ effects. The flow of music is very natural and quite exciting to listen to, keeps attention very well. The score is really well done, very clear and clean. Overall the music corresponds with the theme you've chosen so I had to comment simply to express my amazement, keep it up! ^^

updated. i thought i only needed to use the triple tremolos, or flz., or both. i've chosen to use both to make it clearer. updated to encapsulate the measures that should be played Sul G i'm not sure what this is referring to? if you meant the cello in b.37 where it plays measured tremolos with double stops, i'm pretty sure that's doable unless there's something else to it or i'm just outright referring to the wrong thing it is intended to indicate playing on open strings, not nat. harmonics, hence the "0" fingering. i've changed it to an actual open string symbol now. with the tremolo glissando, i think that's also doable? i've done some searches and have heard that specific playing in a piece i'm pretty sure. can't remember which piece though. fixed fixed changed the run from 16th note triplets to a 9 tuplet for form, it is true that I didn't really think of scherzo while composing form: Introduction: b.1 - b.50, includes both themes playing against each other A: b.51 - b.91 Transition I : b.92 - b.117, includes the intro B: b.118 - b.169 Transition II : b.170 - b.181 Intro*: b.182 - b.223, a variation of the intro A*: b.224 - b. 251, variation of A with change of accompaniment towards the start. Transition I*: b.252 - b.267, variation with added trills. B*: b.268 - b.319 Transition II*: b.320 - b.335 Coda: b.336 - b.359 thanks for the review!! the feedbacks and the comments are really appreciated!!

Unfortunately, I can't read the Wall Street Journal article without getting a subscription. From my own experience, I think video-game music has become kind of a niche genre. I think that there is a tendency in both film music and VGM to create more atmospheric music that works in a certain context but that doesn't stand alone the way a piece of concert music does. And in the past, because of hardware limitations, these kinds of atmospheric tracks were hard to produce effectively so composers defaulted to just writing good music period. And the music had to have basic elements that could be easily reproducible with the limited hardware and appealed to the spirit of the level/game in a more basic way, using melody and harmony in a more classical approach. Also, I once watched a YT video of a World of Warcraft concert, and I really just couldn't see the appeal of the music to the music goers. And I've even played WoW myself back when it first came out. But with all the new expansion packs that have come out by now, it was no longer familiar to me and the music seemed empty and unfulfilling to me. I think that just attests to my first point, that music has become more atmospheric and less able to stand alone, the way a piece of concert music would be expected to. And so the appeal of music written for games and movies that's written in this atmospheric way is dying out, imo. Only the hardcore fans who have played the games for hours can enjoy the concerts of this kind of music. But imo the older music from the golden age of VGM (in my opinion) - the 90's, still has concert appeal and it shows - because there are lots of YouTubers making covers and re-imaginings of this old music on their YT channels. And I believe the music from that age can definitely stand on its own and capture the imaginations of listeners who have never even played the game that the music was written for. But I might be biased, since I was a kid in the 90's and experienced the music from that era very personally. But that's my 2¢. Cool topic!

Review: Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7 7 7 8 9 9.5 9 7 score: 7.9

basically what @Kvothe said. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 10 9 10 7.5 9.5 8 9 average: 9.125 (very good)

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 9.5 9 10 8.5 9 8 9.5 Ok so in terms of creativity, this one is off the charts. The harmony is so creative, and haunting. You sometimes feel like its simple harmony but then you confuse the listener with 2 or more different harmonies, but still somehow make it sound good. My favorite part is around the 3 minute mark, where the violin and flute share the melody. Does this feel like Halloween? I think it does. The slow pace with the pleasant but eerie and confusing harmonies give it that vibe. Extremely well done! Melody and Motive: I feel like it's a pretty catchy melody, but where you really shine is at the 3 minute mark. That part is definitely a 10 in my opinion. Harmony: You somehow made your harmony sound pleasant to the ear, despite it being non traditional. I think it's because you used dissonance sparingly. Form and structure: I was able to follow this piece with clarity. What I do is first listen with the score, but I find the score to sometimes be distracting. I almost always like to genuinely listen without any distractions (this includes visual performances too). When I listened to this with my ears only, you can tell how structured this piece is. Creativity: This is the strongest point, if I could give you a 15, I would. I think this is an extremely original composition. Score + Playability: Yeah, this is playable! Execution and Taste: Hey I love this style of music. Just the right amount of dissonance, maybe some counterpoint, a clear melody, and techniques that I can learn from!

I saw an article today that actually surprised me. https://www.pushsquare.com/news/2025/10/playstation-is-trying-to-scrub-any-mention-of-its-failed-concerts-from-the-internet Sony has canceled and is basically trying to bury that they were doing a tour of video game music from some of their biggest titles at present. This is the first time I'm aware of a video game music concert tour, of mainly orchestra music, being shelved due to a lack of interest. Some are saying a lack of marketing is to blame; others that the music isn't great. I can see the former possibly being true, but I can't see the latter. If Hans Zimmer, Nobuo Uematsu, & Slayer can still have sold-out concerts, then "meh" music can't be the problem here. Also, the Uncharted series I think was on the bill, and it actually has some good music. What it got me thinking about though, is that it seems to me like video game music, just in general, doesn't seem to be as popular as it was ~15 years ago. One of the first online music communities geared towards composers and studio musicians I ever joined was OCReMix, probably about 2012 or so. Back then, every college age person wanted to be either a video game composer or was going to "Video Games Live" and trying to get a Remix past the judges panel. New people came all the time. The former hasn't changed. Plenty of young musicians are still falling for the trap of video games being a golden field of opportunity, but last I checked out OCR, it's basically still the same people who were there in 2015 making remixes. VGL hasn't toured near me in years, so far as I know. I used to go annually with friends, but even 10 years ago, I noticed they weren't drawing as big of crowds each passing year. This is quite a shift as articles 10 years ago were boasting about how "Video Game Music Saved The Symphony Orchestra". In 2015, this Playstation touring orchestral concerts would've been a license to print money. https://www.wsj.com/articles/how-videogames-are-saving-the-symphony-orchestra-1444696737 My hypothesis is that in the 2010s, there were nostalgic millennials still high on the '90s and 2000s video game soundtracks, which were great. A lot of millennials were big on gaming, but I don't think Gen Z is as much. From what I see of Gen Z playing games, they usually only play big franchises and social games like Fortnite, GTA and sports games. So, I think that they aren't as familiar with games where a soundtrack that "slaps" is noteworthy, and the millennials are now all middle-aged and either grew out of gaming or just simply don't have the time to go to VGM concerts anymore. But maybe I'm wrong and it's stilling secretly booming somwhere. Curious to know YC's thoughts, since I know there are VGM fans here.

Hey, cool concept! The atonal parts required me to put on my creative listening skills! But I agree with everyone else that the col legno section is very well done. The beginning section could potentially be akin to a march perhaps. But even though this is atonal, the piece sounds pretty structured to me. The ending though, is a bit to abrupt for my taste. While it does have a cadence, it just felt unfinished to me.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8.5 9 8 8 9 10 8 9.5 This gives me a spooky romantic vibe. Perhaps lost souls on Halloween trying to find love or meaning to existence. It's very enjoyable to listen to not only because of how emotional this is, but because this type of harmony resonates well with me. Furthermore, I find this piece to be well structured, and easy to follow. I love how you break up the momentum at around 1:20. As a YouTuber, I learned that this is incredibly important to do on longer videos. Especially with the the shorter attention spans these days. Melody and Motive + Harmony: I just find these to be very clear throughout your piece, with logical breaks and great emotional supporting harmony. Form and Creativity: Highly structured, easy to follow. Score presentation + Playability: Beautiful score and this seems very playable. Execution and Taste: This is a highly romantic piece that does give off Halloween vibes, and I resonate well with this style.

Unfortunately the competition entries are required to be for a set of 3 - 5 instruments. This is for solo piano. But thank you for your interest and I hope you get the feedback you want/need!

Here my 2nd movement of my Piano sonata no 2. I hope you like it.

That's exactly what I noticed: the tonal clusters. It is so refreshing to hear modern harmony. Do not get wrong...I traditional harmony is great, but modern harmony is like diving into the deep end of pool when it is 90 degrees out side. you feel so much better.

You are truly welcome. This is first time doing this.

Kvothe, thanks for your mark!

Thank you, Henry! Thank you so much for your comments. It seems like the criticism could have really improved this music—it's really missing other harmonies. How should these clusters be played? Spread your hand wide, so that your first and fifth fingers line up, and press with your palm, not your fingers. Yes, the folkloric opening theme may not be the most appropriate, but nevertheless, the music itself, to me, reflects the frightening beginning, and I thought it appropriate to include it here. The music itself was originally written for a larger ensemble, you're right, but the recording was made with soloists and without the double bass—a kind of chamber version. I think the deduction is fair.

Piece of the Beast mp3. Hey y'all. This is a piece I wrote to practice writing for piano and could fit the theme of this competition. It's not really sinister or unsettling, just has more of a dark mood. Feedback will be very much appreciated. Thanks for listening. Also, I have an Instagram music page (TayloredScores) where we as composers can keep in touch and inspire each other.

Submission link: https://www.youngcomposers.com/t48430/submission/

Sure, you're welcome to! But the competition closes tomorrow - Friday, October 31st! I am assuming that you mean that you want to submit music?

Dear readers, This is my submission for the Halloween (Fall 2025) competition. I realize it’s quite a last-minute entry, but after discovering the event a few days ago, I decided to give it a try for fun. I’m genuinely excited that we can all share and experience each other’s music. It’s wonderful to meet you all and hear your work. About this submission: Diptych for piano quartet - I haven’t settled on a title yet, so it will remain Diptych for now - a two-part musical piece, hinged yet paired to form a unified whole. It leans toward the contemporary classical genre, shaped by elements of both expressionism and impressionism. If I had more time (and I hope there will be more competitions like this), I might have written something more whimsical or festival-inspired for the occasion. Still, to me, contemporary harmonies and expressions possess their own kind of "terrifying" beauty that is celebrated on Halloween. My inspirations for this piece include artworks such as Francis Bacon’s Painting 1946 and Francisco Goya’s Saturn Devouring His Son. Kind regards, Cosmia