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@therealAJGS WOW! What an improvement! It is night and day. I have no comments on the music as again, I do not know much on what is meant to accompany, but it definitely conveys something dire or thrilling. As a point of enjoyment, I must say there feels like too much distortion in the file. Just about 30 seconds worth of a blurriness that is very overwhelming compared to the literal music. For me, it took my attention away... especially with headphones 😓

Hi @Sonata_5! Do you have an audio rendition of your symphony we could listen to?

It's them! they started "Random"!

ok, I worked on it and gave it a MUCH needed improvement. this is what is it looks like right now. I honestly don't know what to do next, and I'm curious what you guys think, or if I should add any new instruments for either The next part or the part I have right now. to note, I also want it to be ~3 - 4 minutes long. This song actually came to me about 3 years ago, before I even knew what a "sharp" was, and before I started composing music. I Don't know how I still remember it. back then I thought of a lot of melodies in my head when I was bored and learned them on my Piano; now, I mostly play piano and if I play something I like, I continue it with my software, FL studio. I got really confused when I realized in the old one, after the intro it changed to C# and I thought the intro was D# so I changed the chorus to that, but apparently it was A# anyway. small mistake, big difference. anyway, here's how the progress is going. take a listen.

kinda ambient.

ok I guess I'll work on this song. reccomend any plugins or soundfonts?

Hi! I composed this string symphony a while ago and my orchestra director at my school wants to play this piece. Is there anything I can improve on? Feedback now would be very helpful as we are rehearsing in two days. Thank you!

Hi @MichaelJohn, I'm using Noire Pure!

Three of my favourite composers! I didn't realise I was channeling Prokofiev!

Epic Triple 1- Cinematic | Original Composition 2- Turkish-Delight | Original Composition 3- Moon River Movie-Score | Rendition Epic Triple .1- Cinematic 2- Turkish-Delight 3- Moon River.mp3

Charlies Angels Movie Theme-Cover + Star Trek Episode-Cover 1- charlies Angels Movie Theme-Cover 2-Star Trek Episode-Cover.mp3

To add a bit of nuance to the idea I had floating around when I started: The start idea (Dbm-Eb#9) is quite dissonant and reminded me of the feeling you get when you are watching a show or reading a book and often something happens around late parts of the "middle" of the story where you sort of feel sore of something in the story. There is that unfortunate upset, the part you need to get over as the viewer, so that the ending makes sense and is satisfying in the way intended. That's what came to mind. From that it grew into a waltz and with my detuned E-string, a morsecodish pattern seemed fun. The way the piece evolves in my head is from this soreness, anxiety - what I imagine like one of those wounds you get for falling on asphalt or gravel, you know the ones. That soreness is distracted by this 11/8-ish thing, in a sort of bliss you get in a bad situation from small things. Everything's not alright and you know something is wrong, but your mind is preoccupied with this random thing for just a moment. The ending of the piece is abrupt, fragmented, it's like coming back to your senses, realizing the grimness of the situation. By complete chance "chapter 11", my original name idea (based on the 11/8 and the idea of this being a chapter in a story around the late-middle) means something adjacent to this - bankruptcy! Failure and reorganizing due to such. So the name has that pun in it (I mainly associate bankruptcy with businesses). To me improvisation and composition (and especially comprovised music which is partially what this falls into - a combination of the two) give a chance to tell about feelings, moments, memories, concepts, colours, smells etc. in a vastly abstract sense. Therefore all of this stuff is going through my mind while playing, and I think as that chapter of the book it works quite nicely :D. But feel free to disagree and give your own thoughts! -P

Here is a quick semi-improvised piece I made! 🔷--...-- - waltz for chapter 11 of a movie (or business).mp3 It is based on 2 basic ideas really, a Eb6/9 (or Eb6b9) to Db6/9 movement (with the occasional Dm/F) and a morse code idea that evolves into what resembles a 11/8 pattern (--...--/2+2+3+2+2). The idea in the very start is a Dbm to Eb#9 (omit5, sometimes with a 6 too; basically a reduced Hendrix). The tuning is Drop-D with the E-string tuned up by around 20-25 cents. This is a technique I like to use to make things sound out of place - or to give them that slight microtonal colour. My question would be building on this. Like many of my guitar compositions this was originally an impro session, then I recorded my attempts to redo that impro session. TWO CENTRAL QUESTIONS. *How much detail is too much?* (in notation) -> As this composition is highly impro-based and there are a lot of small improvisatory moments (i.e. the percussive sounds which have a specific place in the form but not specific rhythms or techniques) and I'm wondering how much of them has to be notated. Also there are moments where I purposefully "throttle" the rhythm, like towards the end, where the rhythm fragments and by effect the pace slows down. What's the best way to both visually AND verbally (an)notate this *fragmentation*? I want to have both visual and verbal, reinforcing one another. *What instrumentation do you see fit for this?* -> I want to add other instruments - or effects too maybe - to this piece once I notate it. My mind first wonders towards R. Dyens' ideas for Libra Sonatine if I recall correctly: Originally for guitar, arranged for gtr, contrabass, fiddle and percussions. Ensemble Dre's rendition (spotify) . But I am wondering what to do. Often these first feel so... intimate for the guitar to me, but I still yearn for other instruments to join. This is a long standing block for me. (I also want to know what you guys think of my, self-claimed to be hilarious title) Love from Finland, Pyry

No.1 - Mountain Storms and Valley Peace 1: Now this is what i call "FULL-ON" , You cannot MAX-OUT the Orchestra more than this. 2: i First heard this Composition on your Main Website, it Instantly brought a smile and a laugh to my face, as i thought to myself : "OH YES" 3: Its Powerful, Professional, Inspiring, Complete.......It has all the Hallmarks Of a Hollywood Blockbuster.

No.2 - Ballade for the Dead 1: Oh My God....... This Composition actually has a " MELODY " I thought Melody's were Banned on this Forum. This Melody is DISTINCT , as opposed to OBSCURE, its instantly Recognized when it presents itself. So that is a Major Plus +++++ 2: This Score has a , Beginning-Middle-End that's also very Evident, as opposed to ........ " Where am i in this Composition ? " 3: Overall Feeling & Sound of this Performance is : Main-Stream-Commercial Movie-Score.

This could be of interest to composers who use virtual instruments: www.composerscompetition.eu They have a separate category for compositions rendered with virtual instruments, so these pieces don't have to compete with pieces for which the composers had the opportunity to actually record them (which is, imo, a good idea). IMPORTANT: The rules say that the performance must be an audio export from a notation software, but I asked if they meant this literally and they don't - as long as it is not recorded with live musicians, they don't care if it's done with a notation software, a DAW or any other method that involves virtual instruments.

Hey everyone! I am decided to go ahead and publish my finished works on the forum. I may re-upload some existing works to match this shift, however, let this score mark the second part of this series! No.3 - Petite Sonata for Strings A Petite Sonata for Strings is a small work for string quartet I composed for my own experiment. I composed the second movement first as I was bored and wanted to try writing something using my theory skills. By fortune, I found some passion and within 4-days, I composed this work. Unfortunately, I fear there may be some challenges with the execution, whether it is for double stops or fast-pizzicato playing. I admit I am not as knowledgeable of string techniques and would love to hear some feedback or suggestions to amend any trouble spots! Feel free to leave any comments about the work and I hope to see you all in the next one! _______________ PROGRAM NOTE: N/A

Hey everyone! I am decided to go ahead and publish my finished works on the forum. I may re-upload some existing works to match this shift, however, let this score mark the second part of this series! No.2 - Ballade for the Dead A Ballade for the Dead was composed for a larger chamber orchestra in 2025 during their call for scores, and unfortunately, did not pass on to the final round of judging. A little defeated, I thought about what to do with the score, and thankfully found inspiration to use it as the first movement of a 3-part suite titled describing the afterlife. It is not yet finished as I am working on the subsequent movements, but am eager to share the start of the project. The pronunciation for the work is meant to be pronounced as the other version "Ballad" instead of "Ballade". I just liked the E better for the spelling 😅. To add, I have found inspiration for a possible choir version depicting the battle between God, Satan and a lonely Priest. Many possibilities to be had! Feel free to leave any comments about the work and I hope to see you all in the next one! (P.S. In my opinion, this work is complete and as of this post, I have no plans to update the score) _______________ PROGRAM NOTE: A Ballade for the Dead is a several-minute long work for chamber orchestra detailing the concept of Death. The piece does not follow a specific storyline, instead, it paints a dramatic and abstract journey through the afterlife. Join the orchestra as they paint the agony, dread, and quiet beauty that might be experienced by a soul as they cross over; whether wandering through Purgatory, facing judgment, or simply drifting beyond, they follow this Ballade of Death.

Hey everyone! I am decided to go ahead and publish my finished works on the forum. I may re-upload some existing works to match this shift, however, let this score mark the first part of this series! No.1 - Mountain Storms and Valley Peace Mountain storms and Valley Peace is my first successful work for the orchestra. Winner of the 2024 Young Composer's Forum, and apart of the Tennessee Valley Music Festival, it was recorded and debuted in June, 2024. In 2025, I decided to rewrite the work to the version you shall listen to. After some small tweaking of the front matter, the score is complete and available for view. Feel free to leave any comments about the work and I hope to see you all in the next one! (P.S. In my opinion, this work is complete and as of this post, I have no plans to update the score) _______________ PROGRAM NOTE: Mountain Storms and Valley Peace is a symphonic work and the winning composition of the 2024 Young Composer’s Forum at the Tennessee Valley Music Festival. Set against the backdrop of the Appalachian Mountains, this piece explores the dual nature of the world; both the chaotic power of a thunderstorm and the tranquil peace that follows. The storm represents the harshness and unpredictability of life, a force of destruction that is as much a part of nature as the calm that succeeds it. This work invites listeners to join the orchestra and experience the balance of forces that shape the world, showing how both extremes contribute to the richness and resilience of nature. [VOLUME WARNING]

Hello! I just finished listening and it's a very nice piece to listen to. However, with some things, I feel there are comments needed to be said: 1. You say Violin Concerto, and I must be honest, this is not a Violin Concerto. If you focus on the literal definition, it means solo instrument with orchestra, which you have achieved, but not once did you convince me that the violin is the true feature. It's like an orchestral piece for a movie soundtrack with a nice violin solo to match... akin to Schindler's List by John Williams. Concerto-style implies that you are highlighting the solo instrument, whether it's through virtuosic writing, or a distinct melody with light accompaniment. Instead, you have the solo violin dancing around the accompaniment textures versus a distinct and clear melody. 2. It would be more accurate to title this "[Title] for Solo Violin and Orchestra" versus a concerto. 3. It is very nice sounding. The textures, instrument pairs and gentle writing make this very nice and enjoying to listen to. You are effective in the execution. 4. The "Movements". You noted the start and end of each movement in a non-standard way. It reads as if they are attacca, or played back-to-back with no break. Overall, I did enjoy the listen. However, when you double-down on definition, I feel it misses points and does not truly match the caliber of the word "Concerto". Good work, and hope to see more!

Hi there! Coming from a reference by Red99. I think this is an interesting start! It is a very stirring piece and I felt on edge at key spots. I do have some comments as both a composer and engraver: 1. Beaming: Be careful how you space out the 8th notes or 16th notes. It can be confusing to play as an ensemble if the notes are too separated. It may cause a non-professional (early-college and younger) confusion if when they try to play the syncopated gestures. 2. Page layout: Consider changing the layout of the page to fit more than one staff per page. It will be really obnoxious as both a pianist and performer if I had to do that many page turns. (The staves seem too big or the page is too small) 3. Measure 19: The Viola and Cello should be written as a 6-tuplet versus a triplet. It's a small detail, but will make it less confusing when reading. 4. Musically, it's too stagnant. It sounds like the same texture the entire time. It gives the effect of "an idea that never ends". As if you wrote a long run-off sentence with brief moments to breath. I feel like instead of bouncing the gestures around the ensemble, there can be a better balance of accompaniment and "melodic" material. Am I meant to bounce my ear/ attention around the ensemble, or is there a solo/ group of sounds to focus on? Where is the direction? Good start, and keep it up!

This original piano piece has very simple chords and melody, with the goal to create a soft, intimate and peaceful mood. Yet also with some underlying uplifting feeling and emotion. Simple, with 'stirring' quality if you know what I mean. Hope I achieved that. Let me know. 2019: This is an improvisation I made in 2019, recording live into my DAW without following the DAW metronome. So I had it in midi but measures do not follow a metronome beat. I couldn't record to a metronome anyway because there is much intentional rubato in this piece. 2026: Now I wanted to use a better piano sound and that was easy- just play the midi file with a good piano vst. The piano you hear is the UVI Model D Piano vst playing the original midi file I improvised in 2019 (with some minor note improvements) However what was not easy is creating the score! Which requires quantized notes. So I had a lot of work remaking every measure to have midi notes quantized, not for playing, but for the score. So the score does not play the piano but does show the accurate notes of the midi file that is playing the piano. Comments and suggestions welcome! score available for purchase at: https://www.sheetmusicdirect.com/se/ID_No/1956655/Product.aspx Follow score pdf:

Great opening! I love the idea of starting on the harp and bassoon. Also loved the moment when the music suddenly bursts into life at Bar 37. This has fantastic emotional impact! Percussion is used sparingly and to great effect, and I found the melody line in the first movement quite moving. The second movement has a strong rhythmic drive, and makes a good contrast, with little echoes of the first movement in the flute towards the end. The third movement has a mysterious opening, and I really like the demisemiquaver gestures in the solo violin. The fourth movement has some great climaxes, underscored by percussion. When the solo violin melody comes in, it sounds quite Oriental due to the pentatonic structure. This then gives way to something that reminds me of Mussorgsky's "Pictures At An Art Exhibition". Definitely my kind of piece!