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Churchcantor <godspetrat39@gmail.com> 10:54 AM (2 minutes ago) to tyler La banda de Mozart - 26 - Ópera Delirante You know, bro, now that I think of it and am getting through the one-season series, Mozart's Band, better en Espanol but cool in English, is like a benevolent Spanish South Park; the kids are not the actual classical composers, but are like The Monkees, who wanted to be The Beatles! The composer names are nicknames, though Mozart in this has Mozart's actual hair! Beethoven is Benevolent Cartman, the fat kid (bad because real Beethoven had edema, not body fat) and is mischievous like Ringo in the Beatles, and is the drummer in Mozart's rock/classical crossover band. The real South Park Cartman is of course the most truly evil cartoon character in history. This is a benevolent 1995 Spanish Classical Music Themed South Park Type Cartoon! ... [Message clipped] View entire message Attachments area Preview YouTube video La banda de Mozart - 26 - Ópera DelirantePreview YouTube video La banda de Mozart - 26 - Ópera Delirante Anyway, an e-mail to my brother that is hardly private! This cartoon gets music notation right, and little tidbits like a classical or romantic symphony manuscript is always neat because the composer works little bit by little bit! It is rich, and I prefer it in Spanish with English subtitles.

May please have a pdf copy of score.

huh.pdf my 11th composition would love feedback : D

Thanks a lot, Peter.

For me I think competitions with prize money lose its original intention. In previous competitions when there was prize money for the winners, many composers joined YC in order to join the competition, and once the competition was over, they left YC immediately just like wind. I would prefer a light challenge to a money competition since with money everything denatures, and with no money people would really write for fun, even though the pool might be smaller. Henry

What kind of options could this poll have? We have a few ideas that we've already come up with on the discord, as potential topics around which to base future competitions on. Not sure if those would be appropriate for just a light challenge or if we should save them for a bigger "money" competition? Do you have any specific suggestions in mind? If you'd like to become more involved in this whole process we could invite you into the Staff/Judges corner of the YCF discord server, where we discuss all of these things and plan out the competitions/challenges. Let us know!

A lively interesting work ... in a classic classical style. Quite enjoyable ..... with a very clean/precise orchestration. 🙂 Mark

Yeah man, these are all good suggestions. @PeterthePapercomPoser and I brainstormed a ton in the last few years, we came up with a lot of what you suggested. Many others before we were involved held them too. It kinda just depends on if enough want to do it. We tried money incentives, but looking Bach, the attraction it gave was nice for participant numbers but not so much for the "fun" part of it. I've found that if it's lighthearted, it's better for a community type of contest, but there needs to be a community. Maybe we could run them on our discord, are you on that? I roam both, but I know some use one over the other.

That is excellent idea: I was wondering what to happen to YC competitions. I remember those. 🙂

Wow

Here from the chat inbox. I would be interested in participating in “for fun” competitions of course! Would us, the users, be allowed to publish our own ideas for competitions, or, would I be correct in assuming that Administrators are the only ones with access to publish competitions? Here’s a suggestion; maybe there could be a poll based on similarly suggested competition categories mentioned by users here at the suggestion thread. Then participants could vote on which one they’d like to do. Also could be a separate thread made requesting users who could judge the work rather than having the same people do it each time, since I see where you mention it becomes draining. (Which, I feel I’d be safe in assuming that Peter and Henry share a similar sentiment with that as well) that way the load of judging is distributed across other members who are of good reputation in the community, and could accurately judge the works presented? @Thatguy v2.0

This is my first time writing for wind quartet and would like to know if there is something that I'm overlooking as far as the range or writing for each instrument. As far as the music itself, I would like some feedback on sections that might not quite work or maybe even the tempo changes or transitions. I still would need to include dynamics and edits to the score but if there are any editing or formatting tips I'll take those too. Anything would be appreciated. Thank you.

Greetings! Haven't stopped by in a while, thought I'd take the occasion of winning the 20 Year Membership badge (!) to drop in and share a big something I finished recently. This is one of those pieces I have worked with, off and on, for many years - I began composing it in 2001 and just finished it this summer. I cannot account for exactly why it took me so long to bring this to completion, except that for much of that time I didn't feel worthy of the material I had sketched, and couldn't readily come up with ideas to match it in quality. This piece is in my usual Classical style, unusual mainly in that I have employed an exceptionally large orchestra, including three trombones. Ostensibly, it is written for instruments of the period, roughly 1800 to 1810, though I have it on good authority that the flute part is in places nearly unplayable on a flute of that time - not impossible, but extremely difficult in such places as the frightful two-octave ascending chromatic scale in the first movement, and the mortifying cadenza in the third. Ordinarily I would have edited the piece on such advice, but there comes a time when artistic vision must prevail, and this was one of those times. The opening movement is a standard Sonata-Allegro as typically modified for concerti in the Classical period. The second movement (Andante) is broad and expressive. The third movement is a Polonaise (Vivace alla Polacca) in the form of a Rondo. I hope you enjoy the piece, and as always I look forward to any comments you may have. Thanks!

When it comes to the different sections in a piece, I totally get what you’re saying and I agree with you. But for me, the main thing is that it just takes me ages to write something. Composing a single opus can take me anywhere from two to three years. That’s why, after twelve years of working on music as a hobbyist, I only have six official pieces to my name. I always start out with big plans for more ambitious works, but to be honest, I just get tired of writing and end up scaling things back. Also, since I don’t have much technique or knowledge, it’s way easier for me to write slow movements. So those are usually the first ones I finish, and by the time I think about the faster parts, I’m already worn out from the whole “project.” I wouldn’t want to share my earlier pieces, because I’ve honestly been unhappy with them for a long time and I think they’re a lot lower quality than what I’ve published recently. Right now, I’m working on a symphony and I’ve really tried to rethink my whole approach—I’ve started working on fixing my issues with theory and technique, because I feel like my biggest challenge is keeping things structured and telling an engaging story with the music. I honestly think that’s more of a skill thing than a talent thing, so I’m hoping I’ll get better results in the future. And since it looks like writing this symphony is going to take me about five years, I’m afraid I probably won’t be publishing anything new for quite a while! As for using vocal parts, I kind of agree and kind of don’t. I think it really depends on the genre of the music. Personally, I’m mostly into large-scale symphonism from late German Romanticism and early tonal avant-garde. How often you use choir or solo vocals, in my opinion, depends on the structure of the piece. If you look at symphonies with big choral finales—for example, Mahler’s 2nd Symphony—you’ll hear that the choir only comes in for about the last 30 percent of the bars in the final section, and the solo vocals even less, maybe 20 to 25 percent at best. But if you take something like “Das Lied von der Erde,” the solo vocal part in the final section takes up about 60 percent. Still, in my own work, I probably should have given the vocal part a much bigger role, so the comment is definitely fair.

The intention of the XIX Golden Key Piano Composition Competition is to encourage creativity and self-expression in new and upcoming composers and to provide an opportunity for winning compositions to reach an international audience at the World Composers’ Recital held as part of the Golden Key Music Festival of Vienna. The competition comprises National and International Divisions. The National Division is exclusively available to composers residing in the United States, whereas the International Division is open to composers worldwide. U.S. residents have the option to apply for the National, International, or both divisions. Deadline for submission: December 1, 2025 Age Categories The Competition is open to composers in five age categories: • Elementary (age 5 – 10) • Junior (age 11 – 14) • Senior (age 15 – 18) • Young Artist (age 19 – 26) • Professional (age 27 and older) We determine the category based on the participant’s age as of December 1st of the contest’s year. Composition Requirements The following composition requirements must be met or the application may be disqualified. • A composition must have a title. • A composition may be in any style and should be originally written for a piano or a piano in ensemble with up to four other instruments or/and voice(s) as long as piano would be the leading, not just an accompanying, instrument. Compositions for prepared piano are not permitted. • The performance time of the composition must be no longer than seven minutes. For the composition which is longer than seven but less than fifteen minutes double application fee is required. We do not accept the composition which is longer than fifteen minutes in performing time. • The composition manuscript must be a fully realized score. We do not accept composition which requires improvising performing style. • The manuscript should be submitted electronically in PDF format. • No change may be made to the manuscript once it has been submitted. • A composition that includes copyrighted text must be accompanied by a written statement from the copyright holder giving permission to use the text. If the text is in the public domain, a statement signed by the teacher and student indicating this fact must accompany the entry.

This time I've made a couple of symphonic pieces, that a call "Tone Poems" - mostly because they are written from a certain idea, instead of just being a fantasy. Also, contrary to my last 2 fantasies, I've tried my best to only use 2 themes, though I try to transform them - sometimes maybe too much, and occasionally something else turns up, but I try to limit myself in this way, especially when I plan the pieces to be no more than 5 minutes. Whispering Mountains Whispering Mountains is a tone poem inspired by a trip to a mountain. In the start I introduce theme A, quiet and monophonically. Then at 0:45 - (going up the mountain) the second theme B is introduced by strings and then both themes play more or less transformed, and more dissonant and some counterpoint, until a climax (reaching the top) from 2:-3:30. Then theme B are played simpler, but with more instruments. At 4:30 it returns to a quiet variation on theme A (returning) until it end at 5:10. This one is probably a little more dissonant: The Evening Sun The Evening Sun is a tone poem inspired by the rays of the golden sun in the evening. First a gentle theme A in strings. Then at 0:45 comes a very dissonant theme B. At 1:40 theme A returns in nearly original form in the brass. At 2:40 a new mysterious (but still related to the first two themes arrives, and at last at 3:50 a lyrical theme concludes the piece I know I used some pitch-class sets for the first theme and variations, however I tend to forget exactly what I did, as i dont write this down. Writing it down and keeping track of what I do, tend to ruin the flow.

Also a good guide on how to write for drum set in general:

I thank you so much for your wonderful words, and I’m the happiest person when my music sparks interest in the listener and they enjoy it. The truth is, I considered it my own innovation to take the Binary form and combine it with all of my influences. At first, I wondered how it would fit, but in the end, it worked out perfectly and it’s generally the style that suits me. Once again, thank you, and I’m incredibly glad you enjoyed it.

Do you know about changing noteheads? This is for Sibelius, but I'm sure musescore is similar

That's the beauty of it all, it's all part of your own style. 🙂 I'm not too familiar with Scarlatti, but your sonata for sure kept me engaged. I love the energy, wonderful job. I listened a few times just because I enjoyed it so much. Thanks for sharing!

Not yet, but if you're interested we could get something going again. All for fun of course 🙂 Have anything in mind? I'll link this to the chatbox if others may be interested. I will say that it was a bit draining to be a judge, but I'd be up for simple easy topics for short pieces just to see if there would be interest. I personally would write something along those lines.

What's up y'all I got a request from one of my followers to transcribe "Tip of the Spear" from the Halo: Reach soundtrack. More or less just for fun. Nothing commercial or to be performed. And It's something I'm doing to better understand music all together, as an autodidact composer/arranger. I'm having trouble with writing the drumset part of the piece. If anyone can get me started in the right direction I'd highly appreciate it! I will attach the .mscz file and the audacity file I'm using as the reference material. The track is cut into different parts in audacity, with each part labeled with what the section of the sound contains. You should be able to find it relatively easily 😁 (In order to attach the files as they are meant to be used, I've compressed them into a Zip file and created a share-link via OneDrive. Should be able to access it without a login, just fine. If there's any trouble, just reply to this thread and let me know :)) Tip of the Spear.zip And for those who don't want to download the file, or don't have musescore, attached is a PDF and mp3 playback of the current progress on the transcription, to ease the access for everyone. Here is also a YouTube link to a good reference. Timestamp: 1:15 Tip of the Spear.pdf Tip of the Spear.mp3

Thank you very much! It gives me great pleasure to read you!

Many thanks JP for writing such a detailed review! You make some great points. I think the flute is often too dominant in MuseScore, and find myself always having to mark down the dynamics. Probably should've lowered them more here. The subdominant ending is actually resolved back to the tonic in the final movement of this piano suite. (Otherwise it would be almost unheard of in Schumann's era to end on iv.) However I think in the modern era, it sounds ok to end on an unresolved chord. Some people have taken exception to my use of vibraphone and glockenspiel; though I feel both those instruments have a dreamy quality that's quite evocative of sleep. Apparently the whole suite has been orchestrated by Lucien Cailliet; though I haven't listened to that version. Will definitely take to heart your critique when I revisit this orchestration, and for future ones.

Long time no see, @PeterthePapercomPoser. Exactly around 6 months! Hope everything is going great! I was really busy and ran into another musical hiatus where I could not practice or study at all, but I finally restarted it last week. I was planning to focus on learning, instead of composing, as I want to improve my technique and also go through some partimento (rule of the octave, schematas, etc) and jazz practicing. But, after 3 days of piano, I happened to compose again 😅 Now that I am practicing again I will try to browse more often through the forum, I have seen you have kept on with your microtonal pieces! Thanks for your feedback! I also like that from the piece. I always had a tendency to use cross relations without even realizing, particularly in counterpoint, as I enjoyed the sound but in this piece, that G/G# one surprised me (I realized once I composed it), since it is on the same beat and on a strong beat. I think my ear grew used to major seventh dissonances from when I learned a little bit of jazz 😆 Thank you so much for commenting!