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And there’s a question I wanted to ask you. In a case like this, have you considered changing the key to one that’s more ‘comfortable’ for the orchestra? For example, D minor, or even E minor.

Hello @MK_Piano Form: You have succeeded ABA form nicely. I love mini cadenza in the middle section. Your piece reminds of Chopin nocturne! Theme: you have strong sense of lyricism in your writing. It flows so easily. Harmony and texture: the bass line texture definitely is something Chopin would do ! I have a strong sense this was inspired by chopin!

Hello That sounds fantastic. I just have one ‘objection’: the harp, as an almost literal substitute for the piano, doesn’t strike me as an orchestral solution. Piano arpeggios can be achieved in other ways using woodwinds or strings, or by combining them in a way that’s true to the instrument’s character, whilst maintaining the voice leading and rhythmic patterns. That would sound more symphonic. Yes, it takes a lot more effort to find the right solution, but it’s worth it. When I try to orchestrate piano pieces, I simply don’t use the harp. Perhaps later on, as an occasional supporting element or in specific moments…

Nice! I love this, and have personally performed the original. You might want to give the harp some rest though lol. The strings and woodwinds are rather equal, which is great! Good job! -TristanTheTristan

I'm not done with the score for this yet: so please forgive the sloppy notation. Just hoping to get some comments on my orchestration choices before I finalise it. I know there are arrangements of this piano work for various ensembles; but I couldn't find one for symphony orchestra: so I thought I'd make one. Hope you enjoy listening! Rachmaninoff - Elegie in E♭ minor (orchestration) #26 (midi).mp3 Rachmaninoff - Elegie in E♭ minor (orchestration) #26 (midi).pdf

Thank you so much my dear friend. I’m glad that you like it🙏🙏🙏

💿 Hi Guyz .......... The Title Track to the LUCKY 7 TRAX-PAC | Great for adding Rap-Atax & Top-liner vocals. DJ BONUS FEEL DA BASS Title Track WOLF WHISTLE ANTHEM.mp3

Quite beautiful.

Wow, my friend, thank you so much for this! ❤️ I honestly didn’t expect it, and it means a lot to me. Being described as a “Meticulous Composer” is a particularly meaningful compliment, because I really do care deeply about the smallest details in my music — from the interaction between the hands and the articulation to the harmonic choices and the overall character of a piece. I’m especially touched that you chose the Sonata No. 26 as an example, but even more by the fact that you see this quality throughout my work. After all, these pieces are a very personal part of my musical journey. Thank you again for your kindness and support, my friend. I’m genuinely grateful to have my music appreciated in such a thoughtful way. ❤️

🍫 𝙰𝚁𝙰𝙱𝙸𝙰𝙽 𝙽𝙸𝙶𝙷𝚃© | 𝙼𝚊𝚒𝚗 𝚃𝚒𝚝𝚕𝚎 𝚃𝚑𝚎𝚖𝚎 | Influenced by a Chocolate Advert ARABIAN NIGHT by Mavell.mp3 ARABIAN NIGHT by Mavell.pdf ARABIAN NIGHT.mid

Oh! These are great badges! Thank you @PeterthePapercomPoser and the support team! I like the designs for "Synthesizer Wizard," "Gentlefolk," and "Stimulator" are especially wonderful! Very nice! Also, adding this text to the first post in this topic ( @PeterthePapercomPoser's post listing the awards) might make things clearer! By the way, there is someone I would like to nominate for a badge, so I’ll take this opportunity to mention it here. Person's name: @Vasilis Michael Badge: Meticulous Composer Topic for the badge: https://www.youngcomposers.com/t50201/sonata-no-26-in-a-major-binary/ Reason: I think the piano composition itself is crafted with incredible precision—including the interplay between the left and right hands. Furthermore, the piano playback is really amazing; the articulation and sound clarity reflect that same meticulous attention to detail, which is why I wanted to award him this badge. His pieces are always wonderful, after all :) Best, Lithl.

Ah, I see. I’ll try to revise it so that it can be played. Thank you sincerely for the feedback.

A magnificent piece: I love it! Especially the way it combines Baroque counterpoint with a modern harmonic language. The only problem is, it's unplayable in places. Bars 28 and 35 to name but two examples. Human hands cannot reach all those notes! Also Page 2 would benefit from having the left hand in treble clef most of the time; otherwise you have too many ledger lines to read. The notation is generally quite confusing to the eye. This is partly down to the voice allocations. Bar 47 is a good example. The lower notes in the right hand would be far easier to read if they were merged into the left hand. The upper notes in right hand voice 2 should be in voice 1, and the B natural is unplayable. Definitely worth revising this piece to fix these problems, as I think the composition is very good. It would be a difficult piece to pull off; but could be made playable for sure. Btw, the audio sounds strangely muffled sometimes. Not sure what's happened there? Anyway, hope that helps. Alex

In the Mega Man series, Dr. Wily modifies Dr. Light’s robots and makes them fight against the protagonist. I wrote this piece in my third year, second semester, as a kind of musical “attack” aimed at a senior I really wanted to beat at the time. 😂 It’s a piece I created by modifying and reworking works by Christophe Bertrand and Niccolò Paganini. But I ended up losing and came in second place.

As per @Lithl 's suggestion, some new badges have been published! Yes - good point! If you wish to anonymously nominate someone for an award, you can message any of the staff privately and we will take your nomination into consideration!

Around 1:57, the audio quality suddenly sounds compressed until the end of the video. Not sure why, however, when editing, I didn't notice it. Hope that clarifies!

??? I didn't hear any audio mishaps? Great job on the piece! Very romantic style. Thanks for sharing!

If you watch on YouTube, I am unsure why there is an audio mishap near the end. I only noticed it after it uploaded to YouTube and I have been too lazy to go back and fix it 😅.

Hello everyone! This post marks one of the few solo piano pieces I have created. As a classical pianist myself, there is a certain abrasion to writing for the pianoforte that I have come across. It has a special connection to me for my own expression, whether it is by performance, teaching, or discussing. To write for it alone is a daunting task as I hold a lot of respect for the composers who came before me. This said, I wish to present Sternenliebe to you all. Written in 2025, this work captures passionate love. It was my letter to an admirer, however, our connection was never realized by the time I left for a new chapter of my education and career. Attached on the manuscript was this message, and when reading it now, the more I reflect on what could have been: "Not a day will go by where I don't think of you. Not a night will go by where I wouldn't wish to see you. This piece is my reminder that each time you look to the sky, I am under the same stars looking back hoping to embrace you again. When you hear me play it, know it's because I am thinking of you." I hope you enjoy this nocturne I have created! If you want a little more information on the structure of the work, you can find it on page 3 of the document (marked as page 1). Lastly, besides the score, attached is a video of me playing it! https://youtu.be/9Zz_voOD3r0 SCORE_Sternenliebe.pdf

What is that? It looks great.

My dear friend, Henry I really enjoyed going through this Scherzo. There is so much musical thought behind it, and I found myself discovering something new with every page. What impressed me most is the way you handle the texture: the voices are constantly interacting, imitating, answering and overlapping one another, creating a very alive and organically developing musical surface. It never feels like simple accompaniment supporting a main line — the whole ensemble seems to breathe and move as one. I particularly loved the development section. I think this is where your compositional thinking really comes through. The way you take small fragments of the thematic material, redistribute them between the instruments, transform them rhythmically and harmonically, and gradually build the tension is extremely effective. There is a genuine sense of motivic development rather than simply repetition, and I found that especially satisfying as a composer. The harmonic language also really caught my attention. I absolutely loved the modulations throughout the movement — some of them are wonderfully unexpected, yet they feel completely natural within the musical logic. I particularly enjoyed how the harmonic changes are connected to changes in colour and texture, rather than functioning merely as changes of key. There were several moments where I felt a beautiful Schubertian quality, especially in the harmonic movement and the way certain ideas seem to expand almost organically. In other passages, however, I was reminded of Brahms, particularly in the density of the inner voices, the motivic development and the richness of the harmonic texture. I found that combination very fascinating. I also really enjoyed the character of the Scherzo itself. It has this wonderful mixture of playfulness, darkness, nervous energy and even a certain sense of irony. The “confuso” aspect is not simply created through speed, but through the interaction of rhythmic layers, accents, articulation and constantly shifting instrumental roles. That gives the movement a very distinctive personality. As a composer, what I appreciate most is that beneath all the technique there is a genuine musical personality. I can feel that you are not simply trying to write something “effective” for the ensemble; you have a very clear musical imagination and your own way of thinking about harmony, texture and development. That is something I respect enormously. It was a real pleasure to study this, my friend. I know how much you appreciate my own music, so I want you to know that the admiration is absolutely mutual. I have great respect for your work, and I genuinely enjoyed spending time with this movement. Congratulations on a beautiful and very thoughtfully crafted Scherzo! ❤️

📑 🟥 THE SIGNATURE © | MAIN TITLE THEME by Mavell | This Composition uses ALTERED-CHORDS for that Altered state of "Sound" THE SIGNATURE MAIN TITLE THEME by Mavell.mp3 THE SIGNATURE. MAIN TITLE THEME by Mavell.pdf THE SIGNATURE MAIN TITLE THEME by Mavell.mid

My dear Henry, thank you so much, my friend! ❤️ I’m really happy that you noticed that particular moment with the Neapolitan — it’s one of those harmonic moments I especially love, and I’m very glad that it felt so magical to you. And the fact that you describe my music as a mix of Schubert and Scarlatti is a huge compliment to me, especially coming from a musician and composer whose work I appreciate so much. They are two composers I deeply love, and in my own way, I feel that I find something of myself in both of them. Thank you sincerely for your beautiful words, Henry. Your opinion means a lot to me, and I’m very happy that we can continue sharing our music with each other! ❤️ Also, when I find some time, I definitely want to listen to the Clarinet Quintet you posted. I’m really looking forward to hearing it! ❤️

Hi @Lithl ! Thx for your review! I learn from my past failure and you can check out my first post here, it’s the earlier version of the quintet and the dynamic there is so bad 🫣 To me this movement is about dark and crazy energy despair brings me. The 1:53 melody is a sarcastic one to play with, and 5:27 even more sarcastic when I failed to claim transcendence for my suffering haha. The ending represents the exhaustion of energy with pizzicato as this gives way to internal reflection for the 3rd movement (which I consider the best movement of the work), so stay tuned! Henry