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Thank you @MK_Piano for you review and your insight, as always! Yes, I can see what you mean! I will keep that mind. :)

Morning @BlackkBeethoven I have looked at your wip, and I have attached the file to help you. StringQuintetinFm_pdf.pdf

Goose Honk ? .................... I luv it ! https://www.myinstants.com/en/instant/goose-honk-44161/

To add, maybe in measure 8, let Clarinet one finish the 16th note gesture with the oboe. Why? Mainly due to the instance a performer may be late when entering and to not break the long gesture of the scale. Have the clarinet finish the gesture into the next downbeat. I am unsure why the horn figure is broken up in measure 9. It makes sense for Horn 1 to go the A natural and jump to C# as an escape tone. (Same in mm.10) Also, make sure the Horn 2 beaming is the same in measure 7. Measure 11 - Lower the bassoon 2 scale down an octave or raise the Low B on measure 12 up. Bassoon fingerings are tough and that jump is agony for a player because of how many fingers they put down and the change in embouchure. So lower it down an octave or make them both land on the same B-natural in mm.12.

Very much a night and day difference! Just be careful of a low flute or low oboe for too long as their tessituras change very distinctly. Flutes playing low = Whispery or "airy" sound and does not project well Oboes playing low = 'Goose' Honk. They sound a little comical. The only spot I saw this was measure 12, so it's not an issue unless you prolong that registration for too long. Good work!!

@TristanTheTristan and @MK_Piano , Here is an updated version of the wood wind quintet arrangement. Humoreske in B minor.mp3 Max Reger.pdf

Good Evening everyone I’m starting a new project for string quintet and wanted to make a thread here to document the process, post updates, and hopefully get feedback as the piece develops. Right now, the work is planned in three parts. The first section will be an Andante. I want it to begin with a gentle, lilting 6/8 character — soft and flowing, but with an undercurrent of drama beneath it. From there, it will gradually transitions into something much more chordal and chorale-like, with a warm, hymnal texture that I’ve been wanting to explore for a while (hymnal style in 6/4 timing - with a melody that is more free-flowing in terms of rhythm). I would love to modulate to Db major here and restate part of the hymn theme, but we shall see. The second section will move into an *Allegro*, with a more energetic and animated character to contrast the openness and lyricism of the opening. At the moment, what I mainly have written out is the melodic material that will shape a good portion of the Andante. I already have a pretty strong sense of the harmonic language I want — rich, lush string writing with a soft overall atmosphere, while still keeping the fullness and warmth that I love writing into chamber textures. I’ll be posting sketches, revisions, and progress updates here as I continue working, and I’d really appreciate any thoughts or feedback along the way. Looking forward to sharing more soon. String Quintet in F#m.pdf

I purchased the Pro version and I am not happy with the way it performs. I work with SATB choir music with piano accompaniment. Some times with solo lines in it. I have been able to insert notes on the staffs and manipulate the lyrics, but after a few fixes, the computer locks up and goes into an endless loop and I have to restart the computer, loosing any changes I have made. I have been working on a 9 page piece for over a week and I am still on page one. If anyone has had the same issues and has found a work around, please let me know.\ Thanks

Thanks! You have a good point about the repeats. All those repeats are standard for the scherzo form, but I think probably taking out the one at 127 would improve the piece. Maybe also the repeat of the second half of the scherzo.

🎬 ★𝑴𝑬𝑻𝑬𝑶𝑹™ | Main Theme + Opening-Closing Credits SPACE METEOR.pdf SPACE OUTRO.pdf SPACE METEOR.mid SPACE OUTRO.mid

Hi @Aiwendil ! I think this is a great and playful scherzo! I don't find the evaded cadences at the end of each section objectionable. The only thing that bothers me is that perhaps, the piece loses some momentum with so many repeats and pauses and stuff. Like, specifically the repeat in measure 127 could be jettisoned imo and the piece would be better for it. Perhaps you could get rid of some other repeats as well to improve the flow of the piece but that particular one made the piece really drag in my listening experience. Thanks for sharing and I'm stoked to hear the whole piano trio!

Thanks!

Bright Star, Would I Were Stedfast As Thou Art Free Sheet Music by Robert C. Fox for Voice and Piano/Keyboard | Noteflight Any suggestions for a song cycle? SHORT Keats poems, no operas here!

Hi, everyone. I was wondering if anyone would mind listening to this movement from a piano trio I'm currently writing. I'd appreciate any feedback, but in particular I'd like to know whether you feel that I've gone too far with the repeatedly evaded cadence at the end of each scherzo section. Thanks! Piano trio - scherzo.mp3 Piano trio - scherzo.pdf

I deleted it for you.

https://www.youngcomposers.com/t49597/pluc

Hello @set and welcome to YC! Mind proving us a score, please. Kvothe.

Hi Set. Welcome to the forums! ... Idk either ;$ Do you happen to have a PDF of this? Regards, Daniel–Ø.

@interlect In the media world, there is certain thing called an NDA. I would be careful about leaking videos. If anyone finds out you leaked this, you could be in serious trouble. Please think about this....

You are welcome. I am glad to help out. We are here to learn from each other. One day, we enter an official contest, and those contests be scored and reviewed similarly to the ones here. It is good practice to partake one we do here. You learn how entries are scored (0-10) and why. This round I focused on scoring and judging. The next round: I might do both.

Which post do you want to delete? Henry

There only seems to be the option to edit it and not actually remove it

Hello, Little fugue i wrote today in the north german baroque style. First musical output in years. Simple in harmony, joyful and melodic in theme and counterpoint. Scored for four voices, work well enough with organ or strings. Fuga in g.mp3 Fuga in G.pdf

Hey there. Here is my score of your entry. Entry: Padovana et Gagliarda Form: Here, I feel, the composition has created a strophic chorale structure. Each section of the piece of the composition is well peace and clearly marked. Even without a proper formal development, this baroque chorale (in 4 parts) stands on its own feet's. Score Presentation: L.S Barros' score did not show any engraving errors. It was presented in professional manner. The parts were labeled. Playability: This chorale is certainly playable for any level. The only technical issue that may happen school concerts. Young musicians are not familar with 3/2 meter. But that is not even something to worry about. Creativity: I appreciate the fresh take on chorale Harmony: The homophonic texture was well executed throughout this entry. I appreciate the modal mixture and other forms chromaticism that you used throughout and how you resolved them! Execution: this entry met the correct theming of challenge and was within given time limit. Taste: It was refreshing to hear brass chorale with this competition. Chorales are usually associated with voices. Here, we get to hear one with a brass quartet. Quartets provide a more emotional musical experience to the audience, imo. I felt I was actually listening to 4 brass players and not brass section. Thus, I enjoyed this a lot. Themes: Each section has a different unique theme that repeats. (noted: this is the nature of chorale) Average Score: 9.8 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 9.5 10 9.5 10 10

You will be fine. :) This is a stress free environment.