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What are your thoughts around performing your own piece or having others perform your piece? Performing your piece can be a great way to share your interpretation and intentions of your own piece, and playing your own piece forces you to assess the playability of your piece, and make adjustments where necessary. You can prove your piece can be played by a human, removing accusations that it is just a computer-generated "impossible" piece. However, since different people have different abilities and interpretations, playing your piece might not necessarily help in making your piece more accessible (though it still can), especially when one performs and reinforce opinions of one's piece, as if a self-fulfilling prophecy, where your piece is the prophecy itself, which can be limiting - but again, this can be countered with an open mind. Personally I always find it interesting how people can have so many different interpretations and ways of playing the exact same piece, with the exact same notes, markings and instructions, we all to some extend follow the score, took things out, or added things, according to our practical abilities and personal preferences, it reflects character - whether the persona or the person. Same goes to one's piece, one cannot expect everyone to have the same interpretation as you, even if you are the composer. Yet, it can be quite personal because your piece is almost like a part of you and when others play it it is like engaging with you/ a part of you. It can be fulfilling when someone plays or improvise in an interesting and you thought " Oh, I never thought of that", or way of expressing love, like between Schuman and Clara, yet sometimes one may be offended as what might be disrespect as well. Chopin liked it when Liszt played his Etudes with virtuosity but not when adding unnecessary ornaments to his nocturnes. How y'all experience this? Have you had experience of playing your piece in front of an audience (irl or online) - how was the reception like? Have you had someone else play your piece? how did they play/interpreted it and how you feel about it? Any other thoughts about these Personally I realized I have really played/ have others play my piece? Maybe I should haha, and post them in my socials...

Yea, it is good find out what works for oneself like you have done. I think at the end of the day, to try out and and do what works best for oneself - interesting to see how different individuals approach composing and how our habits may stay or evolve over time. Interesting to hear your approach: Personally, while I generally compose in sections, in order, before moving on, it is not a rule I will stick to strictly. Because I tend to change things after composing the next section so I feel it "makes more sense",the transitions are smoother, and the overall piece is more coherent overall. Sometimes I just have parts where I am not as sure about compared to others so I'll work on the others first, even if they may not appear in chronological order in the piece.

yeah, and that's why I think it is still possible to love one's music - as long as one does not impose it upon other people it is not arrogant I guess?

Hello Vince, Thank you truly for your kind reply. I am glad you were able to find a few notable things from my endeavors. You know, I would also do the same if I were a composition teacher; there seems to be a new demand for good-quality beginning-intermediate pieces since the current repertoire, in that area, is not very good. It would be nice to encourage composers to explore pieces/styles for new learners. Hope to keep you updated with new pieces.

Hi @Aw Ke Shen! Wonderful piece! I really like it a lot! I think your piece is very differentiated and has a lot of contrasts and a lot of different sections within it and ideas all thrown together. Perhaps another characteristic of scherzi is their (4) driving tempo and rhythms and (5) sudden and surprising changes in dynamics. You certainly have some sections of the piece which have intense driving rhythms in a fast tempo. And your score shows that (especially starting at measure 40) you do intend for there to be sudden dynamic changes, but the rendition doesn't really make that audible for some reason. Also I could add a 6th characteristic: the inheritance of a dance-like nature from the Minuet-Trio-Minuet form which the Scherzo came from. Even though the Scherzo is considerably faster than a Minuet, usually it can still be considered to have the same dance-like character. I'm also unsure if your piece is a scherzo because it is so heterogeneous. Like I said, it has so many different parts and ideas thrown together, while a scherzo would customarily just have the driving Scherzo idea and one contrasting Trio idea. But no matter, I am working on a Scherzo myself right now and it doesn't meet all the requirements either, so ultimately, it is up to you whether you call it a scherzo or not. Thanks for sharing!

I don't think it sounds arrogant. At its best, our music is a deep unconscious expression of our own essence. It carries our signature like nothing else does. If we don't love it, we don't have a healthy relationship with ourselves. Even if no-one else resonates with it - it's important that we do, else what are we making it for?

Yeah I may sound arrogant, but during composing my pieces especially with the String Sextet(my best piece ever), I did think of myself, my friend, and also us as 2 members of the whole mankind and how my own ego fits with others, and how can I express and excavate myself in order to express mankind and Tao. I never think I claim music because my inspiration comes everywhere. Another "narcissistic" approach is I always listen to my music daily for composing coherently. Only by getting to know my music so much I can generate inspiration that is free and refreshing but at the same time reasonable and coherent. Henry

I think this is a refreshing perspective on the potential positive aspects of this tendency of narcissism, in the specific context of music composition, with regard to my above response (dk why cant put this quote there but whatever). And especially here, I like how you expanded this idea to say it is not just that it can be positive for self development and composition, but can be a pre-requisite even, which removes the guilt of being narcissistic, as long as one strive for something bigger beyond oneself then, by viewing oneself as a vessel for something larger, narcissism is selfless, not selfish, or maybe at this point the specific words don't matter anymore, since the two are kind of one and the binary does not matter or exist anymore even.

I think as long as it does not make you discriminate other people such that one would harm them, at least narcissism is not that destructive. That said, just only hearing your own music has the risk of being in ones echo chamber. Even if one gets objectively better and like to - and thus - hear more of ones music, which is nothing wrong, it would still be great to listen to other's people good stuff to enrich oneself. I think the term narcissism can be quite subjective, nothing wrong in itself though at times, it can be helpful to use more specific terms or like"X type of narcissism" to describe some behaviours or attitudes.

lol, like Eric Satie's Vexations? but on a more serious note, I do like this piece, it is so classical yet so catchy and fun, something I would like to play, especially if forced to choose a classical piece that are not the ones I like , the boring ones. Also, this is generally suited for children and beginners to play, maybe at a slower tempo. One issue might be that it looks quite easily to trip off when playing in a fast tempo.

Continuing from this threads in reddit and here - https://www.youngcomposers.com/t47262/inquiry-for-parts-of-a-piecepiece-without-a-clear-tonal-centre-how-do-we-put-accidentals/#comment-1186752923 - where I asked for notation advice for my score and integrated them in my edits (thanks again to those who advised me), I would now like to ask how might I actually make this piece more of a Scherzo (whether its the conventional matrices of 3 time, ABA structure, more parts with playful/satiric parts, or beyond these) using the themes/motifs I already have or should I make new ones? https://musescore.com/user/62605720/scores/25131706 https://www.youtube.com/watch?v=O29_xr6AwbA This is because while I find there is contrasts as "touching/happy" parts and more allegro parts and quite some parts in 3 time, but they are (1) not really fun/playful (2) not really satirical (3) not really majority 3 time, I know a scherzo doesn't really need all parts as such but still... Imposter syndrome here, and my main title and initial for the piece is a Prelude, not Scherzo, though in the process I felt like I want a Scherzo (story can be found in my YT/Musescore). Some forms are more flexible than others, especially because people have broken the rules much and overtime. Scherzo seems to be a form which inherently is more flexible and encourage people to go beyond? Correct me if I am wrong. How flexible do you think the Scherzo form is compared to others?

Operetta Theatre (Latvia) and Marina Zirdzina's Family announces FIRST MARINA ZIRDZINA INTERNATIONAL VOCAL COMPETITION in the following categories: operetta, musical theatre, opera, solo and duet. Marina Zirdzina International Vocal Competition is created to highlight the cultural heritage of Latvian musical theatre, to highlight the diversity of operetta and musical theatre genres and to inspire young singers to develop their talent, artistic and vocal skills. It will celebrate the brilliant personality of the operetta diva Marina Zirdzina, bringing to life her characteristic artistic and professional qualities. Young vocalists of age 18 - 35 from all over the world are invited to participate. Competition will be held in two rounds and will be judged by an international jury: Deividas Staponkus (Lithuania), Heli Veskus (Estonia), Sonora Vaice (Latvia), Gregory Buchalter (USA). To take part in the competition, the participant must send a video recording and to complete and submit an application by May 31, 2025. Round 1 will be held entirely on-line. In the Round 2 on August 12, 2025 competitors will perform in person with Symphony Orchestra of the Operetta Theatre (Latvia) conducted by Gregory Buchalter (The Metropolitan Opera, USA) in the Great Hall of the Jazeps Vitols Latvian Academy of Music in Riga. Valuable prizes for approximately € 8,000.00 in total. More details https://www.vocalcompetition.lv and https://www.facebook.com/MarinaZirdzinaInternationalVocalCompetition or https://www.facebook.com/OperetesTeatris Contact us to vocalcompetition@operetesteatris.lv +371 25123145 Organized by Operetta Theatre in collaboration with Jazeps Vitols Latvian Academy of Music and BAFF (Baltic -Americam Freedom Foundation)

Thanks for reminding me about Schubert!

Updated version of the score here: https://musescore.com/user/62605720/scores/25131706 Most of the changes were done using the feedbacks fr reddit but thanks for the additional feedback here too, the score is now much easier to read, more intuitive and makes way more sense. haha : )

Some people have also suggested this and I have changed measures 35-39 to Cb Major (not very used to Cb Maj haha). I have also made other changes elsewhere, like to (suggested by you), also suggested by others (in reddit) "to specify the key signature" on the basis of more practical reasons like score readability.

Noted

Yea, this^ seems to be the consensus and what I observed as for this opinions (from reddit, where I also asked) seems more diverse, but thks for the input!

Hello! Thank you for your very detailed feedback, I appreciate you taking the time to listen even though you normally listen to a little something else! A lot of your suggestions are interesting and I will definitely consider putting them into practice. My music, as I wrote, breaks from the classical form, is full of irregularity and deliberate inconsistency, yet can be simple at times. I draw inspiration from many directions, including jazz, Czech folk music and others, each of which influences the music in a different way. The simplicity of traditional music, the wildness of jazz: they combine to create something very strange and, at first glance, perhaps confusing, out of tune. One has to get used to it first, because the first listening seems different from what one usually hears, even from contemporary modernism. Anyway, I'll certainly consider a lot of the things you've written, as they contain ideas about how to perhaps get more in touch with a wider listening audience. Thanks for that!

I'm not sure I get what you are referring to?

Hey there, Petr First of all, you're a wonderfully skilled composer. Your dissonant language has a lot of beauty in it to me, I'd be very curious to peek at the score! Could you post, or maybe for future youtube videos you have score videos? Regardless, I'm fascinated by the language you write with, as it's very different from mine (I'd love to learn 😄). Each of the five pieces in my opinion shows a skilled writer capable of writing for both instruments well. Perhaps you could have explored more technique, especially with the violin? With a more modern language, I expected more extended technique. Maybe I'm just used to that context? Even some pizzicato sections or slides would suffice to my ears. I enjoyed the music, I'm just thinking out loud after listening. Your samples sound good, but maybe the piano is a bit too wet sounding? Dunno, I'm not the best with all that. I guess maybe lower the reverb, or if using a DAW, make the reverb more dry. Again, that's probably subjective. As beautiful and intricate your writing is, you mentioned this: Yeah, perhaps, but I think you could have explored more. To me, this sounds like you wrote these fairly quickly one after another, and in turn they have a sameness of quality to them. For instance, aside from maybe the third piece (which is my favorite), you for the most part have the violin and piano constantly playing without rest. Also, to me, they don't always play harmoniously together. It's almost like a mismatch, where each one is playing something separate but they don't necessarily align with each other. They "fit", but without phrasing, it sounds like two people talking at the same time without each one listening to each other. With five pieces in the set, maybe one could of had the violin mostly pizz and light, or one could have the piano be mostly jaunty and choppy in the upper register. Know what I mean? For me, having different character implies different approaches to what the instruments are saying. Characteristic rhythms, or recognizable motifs, or more drastic differences in tempo, form, length, or range could be really beneficial. I'm not sure your overall purpose, as it sounds like you wanted something lighter on the noggin to write after a large piece, but if they're published as a set I would really plan more in advance as to how each of their characters differ. Keep in mind, we probably listen to vastly different types of music, and this is only from my point of view. I'm not sure about a lot of modern concert music pieces, I don't listen to them that much. Maybe what and how you're writing is in tandem with the trends of today, I wouldn't know. But from what I've learned, there are some techniques and theories of composition that transcend language. Wonderful phrasing and an array of textures go a long way in keeping your music engaging and interesting, and hopefully some of my thoughts help for the future. Love the music, thanks for sharing!

A religious motet I began writing this afternoon and have finished composing in under five hours. I didn't initially think of the text when I first started, as is usually customary for me, but instead found the rhythms suitable for the text afterwards, and as such, took it from the passage of the Vulgate where the crucifixion of Christ under the connivence of Pontius Pilatus is mentioned, and then added a a reference to His resurrection at the end. Admittedly, this motet would have been more suitable for Late Easter, but alas, I guess only now have I managed to compose anything of the sort. Enjoy! YouTube video link:

Hello my dear friends, I wish you all the best! After the exhausting composition of the string quartet, I decided to take a little rest and create five short pieces for violin and piano. Each one has a slightly different character, so hopefully you will like at least one of them 😅 I am attaching a link to the playlist: https://youtube.com/playlist?list=PLkdhDBNsadAFcrUSvZ0IJecryMQIa8iF8&si=jkL63F2p1dLcfglt

I think it is very beautiful music and, in my ignorance, it does transport you to that special atmosphere.

For years, Those who relied on finale or Sibelus used either Garratian or Sib sounds. Both were decent sound set. No question there. Then came along Noteperfomer. This was game changer for us. It could music in new way that we never seen before. After v3, they brought VST3 plug ins to us. And yes, some where still ram and cpu heavy. This came with tech. (A large size libary with mic positions and full articulations will require more space and ram vs one that doesn't). They realize this, and thought it would be more accesible if instruments were pre loaded Alas, this idea was great. Some thought it was not. (looking at you VSTi companies). These same people align themselvs with muse score. and are selling a cheaper version there. *ugh* This. is. not. how. you. compete.

Hi all. Just wanted to share this experimental composition I made some time ago in GarageBand. Was trying to get away from any idea of structure or form, and make something that sounds quite random. It does have an ostinato, to give the listener something to latch onto; but is otherwise very free. It's probably garbage, but I thought I'd post it anyway.