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Definitely Different than your usual Compositions,the Instrument sounds are of far superior quality ,than Musescore Of course this must be YOU.............However the overall "NEW" orchestration sounds like someone else ?

"THE NEARNESS OF YOU" 1937 Songwriters Hoagy Carmichael, Ned Washington | Orchestrated Rendition - by V.I.P. EXCLUSIVE Iceland Symphony Orchestra THE NEARNESS OF YOU - Orchestrated Rendition - by V.I.P. EXCLUSIVE.mp3 THE NEARNESS OF YOU - Orchestrated Rendition - by V.I.P. EXCLUSIVE.midTHE NEARNESS OF YOU.pdf

An underrated composer is Ferdinand Hérold

Hello everyone! Today, I am sharing my newest and extensive work for the string orchestra. Set in three movements within the key of G-minor, this work was completed after two years since it's initial creation and has a runtime of 14 minutes. The original first movement was made back in April of 2024, while the rest of the sonata was both created and completed in the summer of 2026. The two years in between these milestones saw an exponential growth in my skill and after a summer of listening to a large sum of chamber music, I felt inspired to finish the set and diversify my collection of works. If you would like to know more about the score, please go to page 2 (or page 4 of the PDF) to view specific information at each movement. Thanks for listening and viewing the score! __________________________ If you have any comments, whether constructive, critical or positive, drop your thoughts on this thread! I will reply when able. G-minString_Sonata_AUDIO.mp3 G-minString_Sonata_SCORE.pdf

Okay!! Nicely done I will do my best to address your points for feedback as best as I can, but I am not the most experienced composer on the site, so I would keep your eyes out for better feedback later. 1. You have a few spots (really a whole section), starting at m.89 until m.96 where your beat 3 is completely unseen. It's a general rule of thumb to keep your 3rd beat clear, for reading purposes. 2. I enjoy the way your build up the piece, but I'm wondering if it would've been more effective had you established the melody a little sooner. Like even right after you state the iconic canon baseline - the melody starting in m.5 rather than the dotted qtr figure would help establish some familiarity (but disregard if this doesn't align with your vision for the piece). In my opinion, I just think it goes on for a little too long without the melody, especially since you mentioned this will be used in a game, I think having the iconic melody present from an earlier point would be nice. 3.This is just another one of those "in my opinion" things. But I would like if the rhythmic escalations were smoother. Like in m.6, if those 32nds were 8th notes or 8th and 16th notes (which would be 3 notes, but you get the gist). Up until that point you've just had qtr notes and 8th notes. Same thing in m.32, I would just prefer a rhythm that is different from what we've seen so far, but not jumping from qtr notes and 8ths and 16ths to 32nd notes. It's just a little jarring. This is part of what makes your inversion section successful to me. The rhythms are lining up and diverging in a way that seems smooth if that makes sense. By that point we've heard all of the rhythms you will use til the end of the piece and the 16th against the 8th makes sense and doesn't feel jarring. (This may speak to your 6th point above) I would say yes, however some of the times where I get a little lost are probably midi playback things and not issues with what's written. This is getting long-winded lol, so I'll end there. But thank you for sharing your work!! Hope my feedback was helpful.

Hio, This is my first composition post here. I would be very grateful for honest feedback on a solo piano piece called Pachelbel’s Keygen — Ascent to Elevation 100. A little context about me: I am a software and game designer, not a trained composer or an accomplished pianist. I have no formal education in harmony, counterpoint, or composition. I made this piece largely by ear and through experimentation with MIDI, then produced the score in MuseScore. It's not obvious to me that I have any musical talent at all, actually. But I need this piece to be good for a project I am working on. Because of that, I suspect there may be errors or missed opportunities that I simply do not have enough musical experience to recognize. I am posting here because I would like criticism from people who know more than I do—not merely reassurance that it sounds pleasant. The piece lasts approximately 5 minutes and 40 seconds. It uses the familiar ground bass from Pachelbel’s Canon and passes through a series of increasingly elaborate eight-bar stages, which I call “Elevations.” The general progression is: the initial signal and subject introduction of the ground bass canon and additional contrapuntal voices inversion and mirrored material increasingly dense recursive treatment an intentionally excessive virtuosic summit destabilization, fragmentation, and eventual reconvergence The idea is that the piece is being progressively “overclocked.” It was composed partly for an open-source piano-practice application I am developing, so the clearly separated stages and steadily increasing technical difficulty are intentional parts of the concept. However, I do not want the concept to serve as an excuse for weak composition. I would like the piece to hold up as music independently of the software. I would especially appreciate feedback on any of the following: Are there problems in the harmony, voice leading, counterpoint, register, rhythm, or notation that seem like mistakes rather than deliberate choices? Do the successive Elevations genuinely develop the material, or do some of them merely add more notes and difficulty? Does the main subject remain perceptible as the texture becomes denser? Are there places where the material presents an obvious opportunity for a stronger variation, reharmonization, transition, or climax that I failed to use? Does the post-summit destabilization feel like a natural consequence of the ascent, or does it feel like a separate ending attached to the piece? Is the piano writing convincingly virtuosic, or are passages simply awkward, impractical, or poorly divided between the hands? Are any sections redundant, overlong, underdeveloped, or insufficiently differentiated from the sections around them? Please feel free to be direct. I am particularly interested in criticisms that distinguish between: definite craft or notation problems important opportunities for improvement legitimate differences in personal taste Measure numbers and concrete alternatives would be extremely helpful. I may need to ask questions when terminology is unfamiliar to me, but I will take the criticism seriously. The attached MP3 is a computer-rendered reference performance rather than a recording by a pianist. I have also attached the PDF score. I understand that the rendering may have limitations, so I would appreciate help distinguishing playback problems from problems actually present in the writing. Thank you very much for listening and for any observations you are willing to share. Pachabel's Keygen Draft 3.mp3 Pachelbel's Keygen - Ascent to Elevation 100.pdf

Thank you for taking the time to listen to my work. Well, it's beyond me why I called it a Trio. I must have had another work in mind when I posted. As for the sparse piano accompaniment is to create a specific mood/feeling. I understand the slurs are not bowing marks .... placed there for interpretive intent only ... will it confuse the violinist? You provided some motivation to do more with the piece ... maybe I'll work on it. I'll see if my muse speaks to me! 🤔 Mark

Spongebob Squarepants: Supersponge - Precipice Canyon (Extended):

I think I have a long way to go. My composition is still at it's lowest level, I think (but first in school).

Greetings! 1) Your title says string trio, yet this a duo. 2) if you can, please add more chords in your piano part. 3) A VST violin will always generally play legato. What you wrote is not. The one bow marking you did write is implausible. Remember, phrase markings are not the bow markings. 4) I do like your melody here. With that being said, this piece is too short. This piece could go at least for another 3 minutes. There are never enough string trios or violin pieces. Keep at it!

I see, and thank you for explaining the meaning of each part. Once you finish those parts, feel free to share them! I hope it turns out to be a great piece for you. Best, Lithl.

Hi, Lithl Thanks for the feedback. I am still getting used to both the forum and Musescore so that’s why the storyline wasn’t explicitly there. So far, I have the: Children playing - first part Evil stepmother - second part Banished to the forest - third part Finding the house - fourth part After the huge B chord, at “p subito”, the right hand being eventually joined by the left hand is them seeing the witch. Parts I need to finish: The witch actually trapping them Children fight back The witch gets cooked (literally) and the children escape Finale I’m working on them! Plus, only one school week to go until summer break!!

Hello, L.S Barros! This piece has a medieval musical feel, yet the combination of instruments and sounds gives it a more ethnic atmosphere. This was fun to listen to :) I haven't been with YC for very long, but I'm happy to see you back at YCF! Best, Lithl.

Stylistically the composition reminds of the soft folk rock of the late 1960's. A very pleasant work. Mark

HELLOOOO!! It has been a while since i don't post here so it's nice to be back, today i bring you guys a small Ricercar with a very simple subject. I done this piece while i was bored and i had nothing to do, so i just started writing, but i didn't finish it at first, i only finished a few days later. The instrumentation is: Cornetto, Renaissance slide trumpet, Tenor Sackbut, Dulcian. I hope you enjoy! LOB 101 Ricercar.mp3

This feels like a Beethoven / Chopin or Liszt hybrid. I definitely like the sudden and abrupt mood / key changes. And then halfway through...we turn into a waltz for a brief moment? Solid piece, with lots of things happening for an only 3 minute long piece!

Quite a creative waltz and interesting harmony...maybe a little jazzy? The tritones give this piece a lot of tension throughout. I enjoy this type of harmony so I really liked this piece.

Hello gooberro! This piece feels like it's portraying mysterious characters. It's a nice work, and each section feels like a different character or a different scene being depicted. Personally, I like how it ends. You mentioned it's unfinished, but which part specifically? As a small piece of advice, I feel like when you post a piece, if you include a bit of the background story or specify what kind of feedback you're looking for, people tend to react to it more. Not everyone is like that, but I think that's generally how it goes. Though I'm not really one to talk. Best, Lithl.

Thank you! I don’t know if there’s a reply button, but this works. I just really tried to capture the kids playfulness with the evil stepmother, and the fog of the forest. For the directions I tried to use detailed ones to enhance the depth of the piece. 😁

Hello gooberro and welcome to YC! I am honestly surprised that no one has given you feedback yet and this is your second piece, as it has a surprisingly high level of quality with interesting progressions and good themes. I appreciate your work very much.

Love this!! Great job, in a good playable range for trombone. One thing I would say is just watch the dynamics a little on your piano accompaniment, in some parts of the trombone's register, it overpowers the trombone. But other than that, this is a great piece, I could see it being Love this!! Great job, in a good playable range for trombone. One thing I would say is just watch the dynamics a little on your piano accompaniment, in some parts of the trombone's register, it overpowers the trombone. But other than that, this is a great piece, I could see it being used for MPAs 😁

"Fly Me to the Moon", originally titled "In Other Words", is a song written in 1954 by Bart Howard. Fly Me to the Moon rendition by MAVELL.mid Fly Me to the Moon rendition by MAVELL.pdf

I thought the performance (of edition 2.5) went very successfully. In edition 3, I will either make the solos concerto-based solos; or keep them as non-scordatura principals. I suppose I'll go with the latter, for practical and financially-friendly purposes. In the meantime, I'll be waiting until September or October for the recording to be released. How much of it would I legally be allowed to share here? Just the audio (while remaining it anonymous), or may I share the whole video product as well?

Thanks, Mason! I do recognize that this is a lot of music to sift through and it isn't at all an expectation that you go through it all. No doubt that the things you have picked up already will apply generally. You are teaching me important things; for example, I wasn't aware of the 5ths double stopping issue. Also, for some reason I have never mastered use of slurs in my music. I think it is because I have been more focused on the technical aspects of voice leading and structure that I have neglected these performance indications. It is definitely something I need to get better at. The same applies to the page formatting issues you have highlighted. I agree that if this work was ever received by an orchestra to play, these things would be essential! As for the wind instruments - whether they should be divided into two parts as per convention and in the interests of adding depth, this is something else I will look into. At the moment, there are simply four individual parts for the wind instruments. 🙂

I've dug up another decades old composition. I was once again experimenting with polytonality at the tritone (C and F# major). The first 9 bars of this piece were all I had to start out with so I extended it and finished it using some variation technique and slapped on a repeat and called it done. I referred back to Musescore quite a bit in the process instead of writing everything on just paper and only using my imagination. I made many "corrections" from things that didn't quite sound the way I thought they would on the page, so I feel like a hack LoL 🤣. I'd appreciate any of your comments, critiques, suggestions or just observations. I hope you enjoy and thanks for listening! A Waltz in F#.mp3 A Waltz in F# Print.pdf