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A side note to my above comment: @SeekJohn14v6 As i have discussed this before when suno was brough up, composers on here either use Note performer with NPPE or a DAW with the same libraries that NPPE uses. However, NPPE was discontinued. VST are incredibly expensive. Companies offer entry level ones (BBSCO discover, VSL SPE, OT free, Musio) East west have amazing stuff too.

This loops really well, I totally missed the repeat lol I agree with the others, I liked the microtonal version more! I think strategic use of microtones, like being able to make adjustments to particular chords is a cool way of going about their use, rather than making certain pitches within a scale slightly altered. Is that something a lumatone could be used for more versus period instruments that used microtones because of their tuning? Either way, grand ole' fine piece Mr. Peter

Hey, cool music, and welcome! Very Christmas-sounding indeed 🙂 The part at around :40 reminded me of the third mov. of Sibelus' 5th... you know that one? Check it out if you haven't, it's a masterpiece. Thanks for sharing, and give some thoughts on the other Christmas pieces in the event... you'll find more will check out your music if you listen to theirs too!

Alright let's see what kind of hocus pocus magical mayhem these dice and cards concoct today... listening... Wow you sure are getting good at these haha. This is great, man. Some of the falling piano parts reminded me of Chopin, but as a whole it had such a dreamy quality to it. As a guitarist, it all looks fine and playable to me, and having ringing notes might bring an even more idiomatic texture to the music. Well done Peter!

Dear friends, hello! I'm Zhang Wenhao, a Chinese singer-songwriter. Today, I'm here to share with you a Chinese-style pop love song called "Medicine and Grain Porridge". This song tells the story of a young monk who gets injured while collecting herbs outside the temple and is saved by a tea-picking girl. Later, he falls in love with the girl, but their love is doomed to have no result. There are many regrets in love, and eventually, one has to learn to let go. But it's already precious enough to have met someone. 亲爱的朋友们，大家好！我是来自中国的创作歌手张文灏。这次来跟大家分享的是一首中国风流行情歌，名字叫《药膳粥》。 这首歌曲讲的是一名小和尚出寺采药不慎受伤，被一名采茶女所救，而后对女孩动了凡心，但注定没有结果的爱情故事。爱情中有很多的遗憾，终究要学会释怀，但有些人遇见已经足够珍贵了。 歌词如下/The lyrics are as follows： 作曲/Composed by：张文灏 Zhang Wenhao 作词/Lyrics by：张文灏 Zhang Wenhao 住持心系民疾 广施福泽 僧众出寺采药调配药膳粥 山崖间的薄荷 剩下一棵 我摘取之后失足踩空跌落 醒来身处茶庐 寻声庭中 红衫的你在院落轻哼茶歌 你闻声止歌回眸 脸带羞涩 我罹患上名叫凡心的病魔 红尘里的你 青灯下的我 相识那一刻 就奠定好错过 你身在俗世 我心向禅佛 木鱼经声婆娑 轻诵着奈何 他日再晤面 小僧行礼说 一句女施主 添了愁忖几多 你浅笑细语 我佛珠慢拨 满卷情思都流作清水一钵 丝丝药香弥漫 你的四周 药引是我一抹隐隐的不舍 你捧粥予我喝 伤口愈合 心头却更难耐凡俗的折磨 休养半月余久 带着情愫 我挥手与你作别回到寺阁 持斋诵经敲钟 每日依旧 脑中却常有你嫣然的酒窝 红尘里的你 青灯下的我 相识那一刻 就奠定好错过 你身在俗世 我心向禅佛 木鱼经声婆娑 轻诵着奈何 他日再晤面 小僧行礼说 一句女施主 添了愁忖几多 你浅笑细语 我佛珠慢拨 满卷情思都流作清水一钵 红尘里的你 青灯下的我 相识那一刻 就奠定好错过 你身在俗世 我心向禅佛 木鱼经声婆娑 轻诵着奈何 他日再晤面 小僧行礼说 一句女施主 添了愁忖几多 你浅笑细语 我佛珠慢拨 满卷情思都流作清水一钵 从此山水相隔 翻作过客

I really like listening to this style without the score, since I think part of the magic is not knowing exactly how long the phrases will be, or when a solo bass note will ring, etc. This is great Luis, it's always a pleasure to hear your music! It reminded me of quiet falling snow at night 🙂

That's fine if you want to write lyrics. Composers collab with lyricist when it comes songs. But even so, those songs are rehearse and then perform by actors and actress and singers. Again, in the media industry (depending on the budget), there will be either live musicians, midi, hybrid, or synths. Which proves there again there won't be AI support. In concert settings, they prefer live recordings. (but midi is fine if that is all you have). i.e. not AI!

It's music like yours that helps me continue to grow as a composer. I read through your and Peter's conversation, and it's over my head haha. I really liked the atmosphere you created. Sure it was dissonant, but it was a beautiful dissonance that I didn't know could be achieved. And THANK you for performing this live, I don't know how software (as good as it's getting even) could reproduce this, let alone capture the spirit you gave it with a gorgeous performance, and from the composer is even better. This is truly well done, and a piece that I've had a lot of joy listening and re-listening to. Thank you for sharing! 🙂

Seasons Greetings all! Here's a little something I'm cooking up for a concert next year. It's based on the Epitaph of Seikilos, which is the earliest surviving complete song. I tried to give it a flavour of Antiquity, and to create unexpected harmonies. Haven't come up with lyrics yet; though it will start with the original Ancient Greek text translated into English. Maybe my piano part is a bit too thin? Or perhaps I should keep it sparse? The notation is intended for midi, and I'll be adjusting the dynamics upwards by at least one degree for the musicians. When I make the final score, I'm intending to write out the spread stacked chords in full as arpeggios.

oh I’m calm, i’m not defending religion. I’m defending myself and questioning Henry to show me proof. This ain’t my first rodeo. Why do you think I told him if he doesn’t understand then its pointless to continue? I value my time more than bickering with someone on the internet.

Calm yourself. Note also that defending religion on the internet is a pointless endeavour and I'd advise against it.

@Kvothe well i’m a lyricist, i guess that’s a stepdown from a composer. Many years from now, people will be more accepting of AI assisted music. At least I still write the lyrics.

Uh when did i frame myself as the ultimate right person? When did i use God? You are the one committing blasphemy not me. You are the one telling me what the Lord thinks of what I do. Show me where in the bible that God says that what I do is wrong. See? you are calling what I do blasphemous? show me a bible verse to prove yourself right and i’ll submit to your opinion. I’m not framing you as blasphemous. You are being blasphemous. “Lord Jesus will be happy of your service clicking a button.” Your words. Mocking me, and using the Lord in the mockery thus using His Name in vain. Do you not understand that is blasphemous? If you don’t understand then there is no point conversing with you. The bible is clear: “‘You shall not take the name of the Lord your God in vain, for the Lord will not hold him guiltless who takes His name in vain.” ‭‭Deuteronomy‬ ‭5‬:‭11‬

@Wieland Handke : bull eyes. It was just about to say the tone and style reflects Avo Part compositions. @Luis Hernández I love how you emulate that style and character in this composition. And as @chopin your emotional depth is something that the romantics were write. @SeekJohn14v6 Suno is AI. No serious composer would use it.

Yeah it's a well known fact that people like you use God to consider yourself the ultimate right person and frame other people as blasphemous. The generals and warriors used God to kill in the Cruciata too. I respect everyone who does use their effort to praise God. But to someone who just clicked a Suno button to generate a track and call that a service... that would be what I called blasphemous too.

Another piece reminiscent of a music box or carousel at a Christmas market! However, instead of pins on a rotating disc plucking the tuned teeth of a steel comb, it features a well-crafted score so that a visually trained person can follow the musical progression—provided they are not distracted by Santa Claus whirling around.

Haha, the guy with its elaborate atonal string orchestra pieces (to be honestly, I only mean and know your „Aos Si“ submission to the Halloween competition) uses AI! But that’s exactly the point, you used AI assistance only for the vocals (and I must admit that the result of the „Suno“ use in the other pieces is more polished), the composition is your own and you perfectly contrast the tendency of the AI to produce an „average pop song“ with your sometimes dissonant modulation in the strings part. A good example how AI could be used seriously without losing the fun and creativeness of own compositions!

Thanks Wieland, That’s just one of my albums, my other album is more chill. I plan on using my lyrics combined with Suno, to reach many different genres from quiet to loud since everyone has different tastes. I also publish my music so when I am dead, it will exist all the way to the day that God judges the world and creates a new heaven and a new earth. I spend hours and days writing my lyrics and setting up Suno to generate songs for me until I feel like the song is good, so even though I just press a button. There’s a lot more buttons, thoughts, feelings and time being spent before that final button is pushed to generate a song. I called Henry blasphemous because he used the Lords’ Name in vain and he was mocking me using the Lord. To me, any time somebody uses the Lords’ Name and they aren’t praising Him, praying to Him, sharing His word or anything along those lines, that person is using His Name in a vain way. That is why I called Henry blasphemous because not only was he not doing any of those things, he was assuming what God thinks and is speaking for Him concerning on the work that I am doing. I hope that clears up any misunderstandings. Here is one of my other songs of a different genre from my album Genesis. It’s a story album and this song is the ending.

To be honest, I had to quickly look up the Bible to make sure which verse John 14:6 is—yes, that's right. You have a mission and used a rock-song to spread the gospel – possibly reaching people who are not familiar with classical music. For me – considering me being a religious person, too – I prefer the quieter approach, meaning that an oratorio like Haendel’s Messiah or Bach's Christmas Oratorio touches me more than every sermon. Thus the YCF 2025 Christmas event is the perfect place to share pieces reminding to the birth of Christ, as many submissions with their carols, pastorals, motettes etc. are. Concerning the piece, I don’t want to reiterate the discussion about using AI. Yes, I must admit that I’m impressed of the result one can achieve by the usage of, for example, Suno. It sounds „perfect“ and will appeal to those whose tastes it suits. Just one quote: Since I’m relatively new on the Young Composers Forum, too, I have learned (I think this is correct) that the purpose of the forum is not only to share submissions, but to review them and give feedback, which is what each of us composers wants and needs. Thus, reaching a rank of or beyond an „Elite Composer“ is not necessarily depending on posting numerous outstanding works, but also on consistently and patiently listening to the submitted works and providing insightful and polite feedback. I can assure you that everyone can trust that shortly after a publication, there will be feedback from the “hosts” or “moderators”, especially @Henry Ng Tsz Kiu and @PeterthePapercomPoser, even if no one else bothers to review the piece. And stating that the „service by clicking a button“ is a bit poor in comparison with those spending dozens of hours in composing, arranging, engraving etc. should not be considered as „blasphemy“, but is due to the heated debate surrounding the use of AI.

Hello @Musicman_3254, thank you for sharing your contribution. As far as I remember, your piece is dedicated to the fallen soldiers in WWI who decided to stop fighting for a few days at Christmas 1914 and gather to play soccer. I think I read such a description, but I can't find it anymore. Although the mood doesn’t really remind on the peacefulness of Christmas, I think it is a serious choice to present it here and remembering on that what happened 111 years ago, taking into account that the same terrifying things happen again in Europe in the 21st century. Using a special orchestra with all conceivable wind instruments and percussions forecasts somewhat the sound of big bands but is on the other hand an onomatopoeic description of the short period of silence between the fire trenches. In bar 49 I guessed to listen the referee’s whistle. As I mentioned in a post to @TristanTheTristan, I would appreciate if you would also share it as MP3 audio file, too (for the next time). This would make it easier to listen to it several times, which would be absolutely necessary to thoroughly review a piece of this length.

Hello @TristanTheTristan, in contrast to other participants sharing „miniatures“ (starting with a 9 seconds long piece), you submitted a large multi-movement opus, which, to be honestly, overwhelmed me a bit with its variety of themes and textures. I just have listened it for one time completely and try to give some imaginations „from memory“. Its a Concerto for Solo Piano and I like that you have added some marks concerning the instrumentation (such as „Flauto“ or „Tutti“) which helps to imagine a possible orchestration. The opening theme of the first movement has somewhat Christmas mood – thus connecting it with the event, however that mood is lost more and more with the upcoming variations of the thematic material and texture. The second movement - as being more slowly - was easier to perceive for me. I especially enjoyed the surprising resolutions or chord progressions in the arpeggios in bars 14, 31ff! Starting with a march, the third movement also bears a melodic section and a lot of material where I did not find out how they are related together. All in all a long piece with much effort and much potential. I would appreciate if you would share it as MP3 audio, too (for the next time). This would make it easier to listen to it multiple times, which would be absolutely necessary to review a piece of that amount thoroughly. Finally, I would like to say—and this is not necessarily a criticism of your composition or the piece itself—that I find the quality of the pieces presented on the Musescore website disappointing. At first glance, one might think that the scrollable score is very useful. However, this is negated by the poor articulation and dynamics, which make trills and tremolos sound very unrealistic, for example, and lead to rhythmic disruptions when introducing triplets, etc. Played by a human (or with more realistic articulation, dynamics, and agogics), this piece should therefore be very exciting.

Even if you call it an orchestral miniature (and it is short, indeed), it is a wonderful, well structured and perfectly orchestrated piece that I could listen multiple times in a loop! It brings up a number of imaginations in my mind, closely related with the Christmas time: • It could be serve perfectly as a soundtrack of a fairy tale movie that the entire family could watch together, • I imagine it being played at a Christmas market with an ice rink in the middle (the trio section, mm. 17-32), • it also cites the imagination of the „one-horse open sleigh dashing thru the snow“ (mm. 33-48), • and, of course, the snowflakes (main theme, mm. 1-7). One of my absolute favorites in this 2025 Christmas event!

It’s just a fun fact that I grew up in a little German town called Pulsnitz being famous (at least in parts of Germany) of its centuries-old tradition of gingerbread making. But honestly, I just know how they taste like, I never cared about what they might „sound“ like. Now listening to it, it reminds me of a musical box which is a typical handcrafted Christmas accessory. So it really puts me in the Christmas spirit by combining its cheerful sound, despite its repetitions, with the smell of mulled wine, grilled sausages, and even gingerbread at a Christmas market.

I would have so much fun with this tool. But you wrote a fun song with bold key changing and fun harmony. I like how the violin creates friction, but only through your modulations. You then normalize the harmony once SATB comes in. You are right, the lyrics are sometimes a bit garbled, but I would say it's about 90% accurate. It doesn't matter though, most people will get the idea. The lyrics may be less accurate than Suno in terms of vocals, but the trade-off is that you get 100% compositional freedom.

Fun depiction of such an ancient carol. Love how the soprano has a mind of its own though; we can basically call this the disruptor. It blends nicely, but also ads some friction to this well harmonized tune.