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Very Nice........ i really like the waltz style, and you've achieved a high level of professionalism the Melody is instantly recognized as a Melody, and stands above the rest of the composition well done.

Hi everyone! I took a break from composing for a while. Recently, I started composing again, and I would like to present my latest composition, an Impromptu, written between May and July 2026. Writing this piece proved challenging – choosing the right material was an endeavor, and most of the effort was spent on completing the coda section. Anyway, I hope you enjoy it, and I would love to hear your thoughts! Carl Koh Wei Hao

Most do. I like to choose very unique and original titles for my pieces all the time, in any case.

KVOTHE "I don’t see how this relates at all."........................................................................Now you Know

Please DONT INFER that im using any kind of ai.........................i find this quite offensive

Hello, I tried to create a symphony from scratch again. Maybe this time I made a better version. It's only 1 movement, so it's quite short, 6:22 min. And I would like a review because I want to start a 2nd movement. Simfonija no 1 1 mov.mp3 Simfonija no 1 1 mov.pdf

I don’t see how this relates at all. If you are willing to participate, please remember the rules regarding AI.

HaHa ........ thanx Luis,................ i presume your saying the music is OK, but the PDF is a MESS ? Well every time Musescore releases an UPDATE , i think , Oh Great There gonna Fix all the issues. Nah Nah Nah.................Every update turns out be a DOWNGRADE It adds instruments that dont exist !..................It adds Notes that dont exist "............ it page cuts ! If you keep to no more than 8 instruments , then its fine............but 16 Instruments is the Standard with this system. So iv always been reluctant to upload PDFs, because its not a true Representation of the Systems Output. Better than nothing i suppose...............but i rather have nothing.

Hey y’all! I hope you are doing great. A couple of months ago, I was asked to write a string quartet for the University of Michigan to perform. Though many other composers also premiered their own works, I could tell in rehearsal with these string players that there was so much fun to looking into something more conceptual, though I tried as not to make it too contemporary. I also got to speak with the composition director at University of Michigan Dr. Roshane Etezady, who’s a wonderful sweet person as well as some conductors and composers. It took about a month to write, and with only 6 minutes to write I had to shorten a lot because I was so captivated by this opportunity. Thank you for listening and feel free to check out any files or anything! I have a YouTube and an Audio.com, but I would keep to the YouTube, I upload more often. YouTube Link: File: https://drive.google.com/file/d/1zsbitZUELu9KCGlhchJqwqhDEUSNZvEv/view?usp=drivesdk

Hello The score is just as terrifying as the music. The former in a downward sense, the latter in an upward sense. The music fulfils its purpose well.

I have made some edits to this piano quartet. However, I am running out of ideas, and I am not sure how I should finish it. Would anyone please take a look at it and provide me with some feedback? I haven't added many markings in it yet.Mouvement de l’Air.pdfMouvement de l’Air.mp3

Hi @danishali903 I appreciate your comments and will reply to a few in case anyone’s interested I don’t usually write expression slurs (legato) on the strings, except for very short groups of notes. Instead, if I want to do this, I specify ‘legato’ (as an articulation, which the software I use does recognise) and hide the text. Bear in mind that this is an exercise and that the economy of instrumentalists/instruments has not been the priority, although it was not intended to be used indiscriminately either. That is why there is a piccolo alongside the flute and the alto flute, because that line in bar 18 requires three instruments from the same family. The same applies to the four horns and the tuba. Another of the ideas is that, as far as possible, the families should sound harmonically complete, as in the chord in bar 9. As for the harmonics, they have all been checked and are feasible, though I may have made a mistake. I’ve had another look at the ones you mention and they’re fine. In this regard, I recommend this webpage, which lists all the natural and artificial harmonics that can be played (and those that are best avoided). https://conductit.eu/study-room/rehearsal/rehearsal-4/4-6-string-harmonics/ When it comes to orchestration, there are endless possibilities. Probably, by assigning a few lines to other instruments, I could have done without the piccolo or one of the two horns… But then again, let’s be realistic: when Debussy orchestrated, he didn’t care about the number of instruments – it was all in the service of colour. Best. Addendum The issue of legato slurs in the strings is something I’m going to consider writing about (always bearing in mind what they might do, as I understand it). It’s a more specific point. In fact, as I have a few final amendments to make to this orchestration, I’m going to include that point. Thank you. I’m still at 5% in my orchestration skills.

Yes this is quite informative, its a kind of "Auto-Pilot" concept, where people aren't even aware their functioning in that "Mode". --- it reminds me of : "The Drama Triangle".................present in all Fairy Tales, & Action-Films. 1: The VICTIM 2; The PERSECUTOR 3: The RESCUER example:- Fairy Tales: A: Cinderella was the VICTIM B: The Ugly Sisters were the PERSECUTORS C: Prince Charming was the RESCUER A: Red Riding Hood was the VICTIM B: The Wolf was the PERSECUTOR C: The Wood Chopper was the RESCUER A: Snow White was the VICTIM B: The Witch was the PERSECUTOR C: The Dwarfs were the RESCUERS example:- Action-Films CONCEPT= | MAN HOLDS GUN TO GIRLS HEAD ........WHILE POLICE ARE OBSERVING OUTSIDE | A: Girl is the VICTIM B: Man is the PERSECUTOR C: Police are the RESCUERS And FINALLY the CONCLUSION : Some people can get stuck in part of the "Drama-Triangle" example:- " Years ago my Botox Nurse told me she felt sorry for the beggar outside a supermarket, so instead of giving him money......she instead entered the supermarket,and bought a sandwich for him. She came to the front of the store where the beggar was sitting, and she Smiled and gave him the Sandwich. He replied : - " I DON'T EAT MEAT ! " Conclusion ? She was trying to RESCUE a VICTIM.......................But the VICTIM didn't want to be RESCUED

Here's a musical quote from Mihaly Csikszentmihalyi's Flow - The Psychology of Optimal Experience: And if you've gotten this far, thanks for reading!

ummm.... The problem with these kinds of compositions is: the "Tension & Release" isn't correctly structured with the appropriate "Build-Up" and so it "Flat-lines" , because nothing is happening & It's steady its Safe it becomes a "Clone", in that it doesn't stand out from other compositions Because it lacks "Identity"

I’m curious about what kind of music you were listening to when you composed this.

This is a very evocative and Debussy-like orchestration! Some minor things: I think you can add slurs in the third measure when strings come in. The articulation is suppose to be legato and smooth, and slurs will help with that. Continue the slurs in the viola/cello/bass melody in bar 5 onwards. Same thing in bar 28...and since the violins are PP, slurs would DEFINITELY help. Probably can consolidate the 3 flute parts to 2, with the 2nd player doubling on alto and piccolo. Probably can remove the tuba too since it's mostly doubling the double basses. You might also be able to consolidate the 4 horns to 2. Play around with mixing bassoons or clarinets with horns. Some of the violin harmonics look suspicious...measure 19 specifically in 1st violins.

Hello! As other people have mentioned, this is pretty darned good for a second composition ever. Not finished, but plenty of material to work with and plenty of places to go I think.... I read the title of the piece (Hansel and Gretel), I listen and close my eyes and I can imagine Hansel and Gretel. So, I mean, mission accomplished! I played along a bit on the keyboard and there are some nice chord changes that capture the mood changes. It all seems fairly smooth. Transitions seem pretty good to me. There is enough variation to keep things interested. It really tells a story...I'd be interested in hearing/seeing more!!!

Thank you! I will keep this in mind, I am used to a digital so I have little experience with these things! gooberro

Hello! *disclaimer, I know nothing about Polkas I listened to the entire thing and on first impression is that ending seems a bit too abrupt. With all the nice loud right hand chords...just kinda feels like it's needs another punch in the right direction at the end. Maybe it's because you modulate to Bb and end on the F, which feels like ending on the dominant? Maybe just do the last note with both right hand an left hand? I don't know, but yeah, if that's the not fully resolved sound that you were going for then, mission accomplished I think. Listened to a second time, ending still felt weird. Then I tried to play along with the piece on the keyboard Sometimes, the chords just kinda clash with the melody and the harmony feels a bit off. Like in measure 6/7. Bb, C D in the right hand, and F root triad going to D octaves in the left hand. You end up with this sort of weird class between the A in the left hand and the Bb in the right hand and this sort of "power chord" without any thirds in in the beginning of measure 7. Maybe instead of a F root triad, gotta throw in a first inversion C7 chord. And instead of the D octaves, adding a third somewhere in there. For the nice big loud part (around measure 25), personal preference for my ears...I'd add a F to nice big G chord in the right hand in measure 25, play the G/F with my thumb to make it all sound a bit thicker and maybe transition from the Bb chord nicer. It sounds nice enough the way you had it, so more of a preference thing for my ears. The title is amazing, do all Polkas have funny song titles?

Great job!! I really enjoyed your contrast - one thing I would maybe consider is adjusting some of the evil stepmother section. That register of the piano can be very muddy if not approached correctly. I think adding some pedal markings would help ensure a cleaner performance. I also appreciate how you transitioned between sections. They're not abrupt and are very smooth. I don't really have any critiques - thank you for sharing and happy composing!!

𝗖𝗢𝗡𝗧𝗜𝗡𝗘𝗡𝗧𝗔𝗟 𝗧𝗢𝗨𝗥 | 𝟭 𝗺𝗲𝗹𝗼𝗱𝘆 𝗳𝗹𝗼𝘄𝗻 𝘁𝗵𝗿𝗼𝘂𝗴𝗵 𝟰 𝗖𝗼𝗻𝘁𝗶𝗻𝗲𝗻𝘁𝘀 1: NEW YORK - 2: COLUMBIA - 3: SCOTLAND - 4: PARIS CONTINENTAL TOUR.......NEW YORK - COLUMBIA - SCOTLAND - PARIS.mp3 1 NEW YORK.mid 2 COLUMBIA .mid 3 SCOTLAND.mid 4 PARIS.mid CONTINENTAL TOUR 1 NEW YORK.pdf CONTINENTAL TOUR 2 COLUMBIA.pdf CONTINENTAL TOUR 3 SCOTLAND.pdf CONTINENTAL TOUR 4 PARIS.pdf

Unfortunately the poll has already been voted upon by a large number of people and can't be changed at this time. But we can certainly include concert band as a possible choice of ensemble in future competitions! Edit: I have included "Concert Band or Wind Band" in the choices - although it's not likely to win because a large number of people have already voted (unless they go back and vote again).

Hey! I am wondering if there can be a concert band option, or if I check chamber or full orchestra, if that counts as concert band?

Hi layneleefilm! This piece is amazing. The impact of the percussion is powerful and captures the feel of "The Duel." You have wonderful skills in both composition and music production. The composition is excellent, the way it quiets down at 1:14 and creates an atmosphere of something looming. I like the melody lines, too. I’m curious about what kind of music you were listening to when you composed this. I’d love it if you could share that with me! Best, Lithl.