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Hi Sam You have created a very strong melody within this track, and its quite adaptable to different versions too. Iv created a Cover-Rendition of it in a "Hollywood-Big band" style be interesting to hear your vocals with this version, easily done, if you want to send them to me via personal message, and ill mix them into the alternative version, i cant read music , so this isn't 100% perfect, but a nice alternative-version, to your Great Song. SAM TUCK.mp3

Warborn orchestration draft 3 08-04-2026 - Flow 1.mp3 I orchestrated my piano sketch called "Like a clock work" and re named it to Warborn which i thought where more fitting title. Here is the orchestra version. Thanks in advance.

Hey @Aiwendil ! Nice job on this elegant classical work! I would have called this piece "Divertimento in Bb for Wind Octet". But no matter - very enjoyable nonetheless! I love the unexpected discordant moments in the 1st movement! The 2nd movement almost lulls me into boredom, but soon enough a contrasting section brings renewed musical interest. The 3rd movement to me sounds like a peaceful countryside carriage ride. I'm surprised that you included two minuets in this Divertimento. I would have opted to write one minuet and a scherzo for variety's sake. But it certainly is vivacious and full of positive energy! The Presto movement is probably my favorite of the bunch! It's very scherzo-like with its constant sudden dynamic surprises. Another thing I wanted to mention is that the whole work is very well proportioned! Each movement is about 5 minutes long with no movement being more important than the others. Great job and thanks for sharing! I enjoyed it thoroughly! P.S.: I really loved the funny modulations in the last movement! They're full of Mozartean humor - almost like those polytonal moments in his Musical Joke! Thanks again!

Hey @jejrekmek ! You have such a unique style! Either that or I'm just not too familiar with your influences. Your recordings are amazing. The only thing I wish you included is lyrics to follow along with as I find it hard to understand the words in the recording. It's amazing that you got this performed and recorded so well! It seems so eclectic and eccentric. I'm not even sure how many performers are in this recording and what the instruments are. But I enjoyed it thoroughly! If only I knew the words I could enjoy it all the more deeply! Thanks for sharing!

Hey @skvlkin ! Nice arrangement! Since the usual range of Soprano singers starts at middle C and given that you're arranging this for a middle school choir, it might be advisable to transpose the whole thing up to C minor instead of Bb minor. That way all your low Bb's would be easily reachable by the Soprano soloist. And there doesn't seem to be any really high notes in the piece that would prevent your from transposing it up because of the high range. Also, C minor is a much easier key signature for the middle schoolers to read. That's my only advice and it's coming from someone who doesn't really know too much about voices himself. Thanks for sharing!

Hi @Fruit hunter ! Quite an interesting work full of extended techniques and giving each section of the chamber orchestra interesting parts - including the Violas! My only gripe as a composer and listener of your work is that in this case it seems like there is no justification or musical reason for any of your gestures. The piece seems to be made up primarily of interesting ostinati and various syncopated gestures. This somehow manages to create some musical interest. But, for my own taste, I prefer the musical justification for a piece's existence to come from the themes/melodies which from my perspective, this piece doesn't have. Still, it does work - and I could definitely imagine it as programmatic music for the approach of a black hole. I don't see the "falling in love" theme as very fitting to this piece though. But an approach to a black hole definitely could work. Thanks for sharing!

Linked to the following poem (or a cluster of poem around this in my notes, but this is in the same topic): https://poetrycircle.com/forum/threads/28-criscee.136779/#post-1104086 This is a work-in-progress, I ran into a wall with ideas. n115.mp3n115.pdf

Things added: bass distortion turned down- key change and second chorus- effects to various instruments- bossfight progress 3.mp3

Hi all 🙂 Here's a short study for string trio in a rather oriental mood. Hope it will delight you. Best regards, Marc My Shéréazade.mp3 01 - Conducteur - Etude pour trio à cordes n°11.pdf

You have to be EPIC... before you can be an Ambassador.

You should be our ambassador for gif badges haha.

I'll be the 1st to Accept this Badge.

aight im in

Agreed. I will change those low woodwind harmonies when I have time. Many thanks for listening!

It’s a meticulous piece of work and it sounds good; however, I feel that while the arpeggios work well on the harp and even the vibraphone, they don't seem very idiomatic when played repeatedly by the woodwinds (clarinets and bassoons) or even the cello. I think you’ve tried to be very faithful to the score, but the orchestra doesn't behave like a piano...

Funnily enough, it's very telling of commenters who don't have much of substance to say about the overall quality of my work when they start pointing out the most banale, trivial nitpicks. Not your case by any means, but it's a relatively common occourrence in the comment sections of some my videos. Things like "this is supposed to be 3/4, not 6/8 meter" or "the panning of the background choir doesn't match that of the Cantāmus one". I wouldn't say it's a matter of reputation. I also wouldn't write such replies unless I have any observations or criticsm of substance to offer, as I believe it's a waste both of my time and that of the composer whose work I'm reviewing. Besides, this composition is technically a revised version of and older work: a repost, if you will, so I wouldn't blame more seasoned members who frequently comment on my posts for merely withholding what has already been said before. I had never tried this double-scoring method before, and I must admit it sounds as effective in rendering more human-like expression as much as it seems to pose a whole lot of work. The closest thing to this I usually do is manually inputting the exact tempo gradation values for the ritardandi at the end of each piece, since before MuseScore 4 came out there was no way to insert working rallentandi automatically into the score, or at the very least, not that I knew of. So in order to cover my tracks while still keeping those tempo markings functional, I manually alter the text format to make them invisible, even inside the program itself. That alone often turns out to be an absurdly tedious process and I hate it. At the moment I doubt I could even imagine myself inputting all those rubatos and expression markings and then subjecting those to the same formatting process without cleaving my head open in half out of exasperation. Even if the improvements were marginally or even substantially noticeable, I have much more valuable things to do with my time than attempt to "humanize" the recording manually. The mere thought of engaging in such a tiresome toil for a result that could far more accurately and naturally be replicated through MIDI input or a simple performance recording sends me quite aback. I've heard of this software before. A Discord user by the name of @grpnr1345 applied the software's protocol's to one of my earlier fugues under the same guise, and the results were mixed for me, because the sampling and reverb values were just deplorable, turning the overall timbral quality of the piece essentially into a downgrade, but the altered recording itself, as well as the intricacies of its transformation, felt rather convincing. For context, the audio file in question has been attached to this post. Lastly, thank you kindly for your detailed review. As for the software you mentioned, you're free to apply the Lilypond protocol to my score whenever you feel like it or have time for it. It will most definitely be interesting to see how different users of the same software modify music in the same style, so you have my full permission and encouragement to "humanize" the recording as you see fit. Fugue in G-sharp minor No. 17 Pablo Marinero Cueto 2023 - Zell 1737.mp3 Fugue in G-sharp minor #17.pdf

Getting much better at this lately.

So, two movements done, and I'm at least thinking of the third. Maybe a Brahmsian A Minor melody with a quirky harmonization, rondo-sonata with a big fugue for a development? That sounds right up my alley!😀 Melody...🤔 Hazards of editing: in the second movement, I meant to repeat the whole A section, which is aba within itself, but forgot the ba!☹️Had to paste it in...nine minute movement with repeats, I think... I had the thought in the shower, that I can't have the last movement ending triumphantly in A Major, since the first movement did that. Too much harmonic symmetry! Will have to be a tragically austere A Minor final cadence.

Ah yes surely.LOB 64 Padovana et Gagliarda.pdf

I'll join

A divertimento for pairs of clarinets, oboes, horns, and bassoons, inspired by the wind divertimenti and serenades of Mozart. Any comments would be most appreciated! 1. Allegro.mp3 2. Minuetto allegretto.mp3 3. Andantino grazioso.mp3 4. Minuetto vivace.mp3 5. Presto.mp3 1. Allegro.pdf 2. Minuetto allegretto.pdf 3. Andantino grazioso.pdf 4. Minuetto vivace.pdf 5. Presto.pdf

I didn't know you were a cat!

Thanks a lot for your comment I made a few adjustments in a newer polished version @PeterthePapercomPoser Like clock work version 2.2 05-04-2026 - Flow 1.mp3version 2 refined.pdf

Now should you go crazy with drums again or make a catchy beat?...