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I'm really enjoying this movement and shall have to check out the rest! One thing your orchestral style reminds me of is the style of parts of Bartok's Concerto for Orchestra, where folksy tunes and whimsical syncopation disguise rather dissonant harmony! Just wondering; do you write directly into the computer, or on paper? Honestly, I can't tell, which is a good thing...I will write directly into the computer for a piano piece, but wouldn't do so for a symphony, if I ever wanted to write another. Heck, it kinda reminds me of the Shostakovich First, teenage masterpiece, in its playful quirkiness. I'll be looking into more of your stuff.

Hi to all, Here's my first attempt to orchestrate this nocturne. I actually started this last year, and never really finished it properly. I know there's a load of things wrong with it! Not least all the missing slurs and awkward handovers, etc... The cadenza-like figure on Pages 8 and 9 is particularly awkward to orchestrate: so any suggestions would be very welcome! Maybe I should divide up the runs into shorter figures, and spread them out across different instruments? Perhaps dovetailing these together with overlapping notes, or single handover notes? That way the cadenza could work its way around the orchestra to give a nice 3D effect? Anyway, just thinking outloud! Hope you enjoy. Nocturne No.1 in Eb minor (Faure orchestration) #41.mp3 Nocturne No.1 in Eb minor (Faure orchestration) #41.pdf

Welcome! Don't worry! You will do fine.

I want to join the competition, but I'm not sure if I'll make it.

I declare my intent to join into this competition

waltz 2.mp3waltz 2.pdfwaltz 1.mp3waltz 1.pdf would enjoy feedback

Thanx for trying its showing the file as corrupted, and then when opened it displays the same "PAGE-CUTOFF" Issue so theres no point in uploading Pdf Scores anymore Thanx again for your Help, at least i know im not the only one with this problem.

A Tribute to the Late Billy Goldenberg By analyzing his Style and Technique , it was possible to create an Original Composition COLUMBO - BILLY GOLDENBERG TRIBUTE.mp3

Thanks again @PeterthePapercomPoser and @Kvothe Here is yet an other refined version where i tryied to re think the repetitions a bit and refined some ideas. War born draft 5 WIP impact 01-05-2026 - Flow 1.mp3war born reimagned draft 5.pdf

Well... Musescore Studio has never really been all that great at translating MIDI to .mscz... in this case, I see no difference in that fact... lol Here is the .mscz file that resulted from opening the MIDI with Musescore. If you let me know what it is that you're trying to accomplish, or, if willing, you'd be able to send me a copy of the score that you're attempting to format, I might could give you a hand with that, directly rather than indirectly. Just let me know!

Dear all. I am glad to share with you the final movement of my Symphony No.1! This is the official conclusion of my whole set of Symphony No.1! I can't believe it is done after few years. Hope you all enjoy it! About the work As usual, the highly motivic and related to other movements. The third three notes "dat-dat dat!" serves the main motive (and new material) of this movement. As an answer, the motive from First movement (blue) is immediately recalled with little modiciation in rhythm. The second mvt. motive (green) also enter the party very soon. The work reaches the climax at m.244 from the build up of m.193 which goes into a very big bright chord. The last part of the work starts are m.274 and ended with a crash of different motives.

Thank you so much for discovering a possible solution to this particular problem. Please could you test this for me, by importing the Midi File attachment below into the Musescore Notation program ? and report back your findings.....it could be the solution to the problem iv been looking for i would really appreciate it.................. Barry Manilow - Looks Like We Made it - V.I.P. Symphony Orchestra Rendition.mid

[INFO DUMP pt.2] Unfortunately this scenario is only hypothetical and will stay hypothetical. To be as blunt as possible, there is flaw in the logic. So far, no one I have seen on the forums or any of your uploads have critiqued the raw music. It has been often aimed on the presentation of the music and in this case, about the sheet music. Having music performed is a competitive goal. 100s-1000s of people submit works every year for performance opportunities, both in the educational and professional scene. Speaking from my own experience, all the opportunities I have applied for have asked for a Resume and portfolio. Even if you have "the best work" from an subjective standpoint, they will go with the more experienced person in the professional scene and in the educational realm, they are more likely to give more chances to newer composers. I have made over 20 original pieces that I personally say are perfect and several arrangements. Most of my pieces are for the orchestra, and in my notation engine... I have over 100 files worth of scores. Out of all my music, I've been given the chance to have only four of my pieces performed, three of which were by me. I cannot understate how hard it is to get music performed for large ensembles. Yes, I know a lot and can guide a lot of musicians, but I am just another dude who does not have a big portfolio. I have to start small and work my way up. If a producer asks if you have a portfolio, this indirectly will show if you have had music performed, NOT just if it was made. I can draw a stickman but I do not call myself Monet or Dali. Just because you made a song or two is great, yet, how much experience do you have hearing your music live? If you haven't... then how often are you participating in the music community? Have you worked with other conductors, professors, soloists and varying ensembles? To tie back into the forum, we only want to see others succeed. This is why I share such detailed analysis of varying scores. It may be the one encounter that opens a new door in their thinking, or help provide an expectation of scores in the community. This is why I comment now. None of it is personal, at least coming from me. If you wish to talk about score engraving, then I'd be willing. It's a different ballgame compared to the music creation.

To fix this, I'd suggest setting your page margins and score size to fit Letter sized pages, only. As when you export PDF, it will try to fit the score on a standard printer sized page. You can also attempt to shrink the size of the score by going to Format > Page Settings... > Staff Space: (Lower this value to decrease the size of the staff, which will allow for more room on the page to fit it while shrinking the overall size, or, increase it to enlarge the staff, allowing for less to fit on the page.)

Great, that looks better. For the next version, I want to look through the score and look at bars repeat the same material and re think them. I am sure the piece can logically breathe with out them, yes? After that, we will look at 5/4 section...

Hi @Bjarke ! Good job making the score look cleaner! I think it really simplifies the look when you write it in 9/8. But you could have applied the same logic to the 5/4 bar as well! You could have written it as a 15/8 bar! Thanks for sharing.

Thanks a lot for your comment @Kvothe I re wrote the score with new ideas and tried to improve it with the 9/8 meter. Others have mention it as well and I thought then why not give it a try then? Here is the new re written version. WarBorn complete re write draft 3 03-04-2026 - Flow 1.mp3 Warborn recomposed draft 3.pdf

Hi and Thanx for your interest 1: The system exports the midi file compostion 2: The Midi-File then gets Imported into the Notation software Yes some parts like the Piano are played Live, and then Quantized at a specified percentage 100% Quantization for Disco/rock/RnB/Jazz/etc Whereas a 25 % Quantization will create that "Human-Feel"..any less and its gonna sound like bedroom demo. Noway can i manually enter notes into any notation software as i cant read music i can play any thing if i hear it a couple of time...but i can only play in the key of "C" My concern is primarily to how the trcak SOUNDS, as to how it LOOKS, because it will usually be combined as part of a video. regarding the amount of data your referring to...........this particular Notion software| MuseScore 4 is fine for simplistic scores, but dont expect it to cope with complex full blown orchestration...........it just can not keep up. not only does it "Page-cut" , it also lists some instruments as "SYNTHS" , which is totally incorrect. Anyway, here's a TREO version focusing on the Piano. MANILOW PIANO TREO.mp3 MANILOW PIANO TREO .pdf barry manilow made it piano solo.mid

Music sounds good, how do you produce your music? I noticed you transition from piano improvisation straight into MuseScore 4. When you're moving those ideas over, do you find yourself live-recording MIDI to capture the 'feel,' or are you manually inputting notes to keep the notation clean? I always struggle with how much human data to keep versus making it look perfect on the page.

Just to Conclude: If paths cross at certain points in life, with executive producers in the future who are looking for: A "SOUND" or MAIN-THEME , to fit there future Movie-Film, then they might request : --- "We want a Main-Theme for our new film that has the elements of : Terminator2 + Indiana Jones + SuperMan + Jurassic Park + Judge Dread + Total Recall + RoboCop2 Can you do something "SIMILAR" like that for our Film ?... and what Budget Cost are we looking at for an Orchestra to perform this ?" --- i could reply : Yes this can be done with all the elements of the "SOUND" your requesting, ...............without The cost of an Orchestra. --- "Well thats Great......... But can you prove what yours saying - Actions speak louder that words ?" --- I would then provide them the links to the "Film-Scores RE-CREATIONS" page on my website as proof, And also send them an additional | 3-Brand New-SIMILAR Main-Title compositions | for them to PREVIEW Of course i would have firstly requested a copy of their Film's INTRO , to combine both VISUALS+AUDIO together They would then either | Accept or Reject.

Hi! Actually I just completed my piano toccata piece inspired from living near the motor city (Detroit, MI) in my childhood... I decided to make this toccata piece since I thought the mechanistic characteristics of the genre match well with general images of the motor city... In this piece I tried to express free style of lots of jazz and popular music heard when I was growing up near Detroit, while keeping this piece modern classical music... Hope you enjoy this piece, and please feel free to leave any comments and suggestions :) Motorcity Toccata.mp3 Motorcity Toccata.pdf

Why hello! Thank you so much for taking the time to listen and write such a detailed comment—I really appreciate it :) I’d be happy to share the full score! It’s still a bit messy since it came together from sketches, but I’m currently cleaning it up and will share it as soon as it’s presentable. Your point about saving some of those authentic cadences for a coda (especially with cymbals) is very interesting, and I think you’re right that it could make the ending feel more impactful. I've used similar structures in my codas, usually ending the introduction with a subtle phrase. This time it was a bit different, but hey! I'm glad they provided a great start :) And I love reinforcing the waltz harmony with brass and winds underneath (specially with the French Horn)! Thanks again for the kind words and thoughtful feedback—it really means a lot!

Thank you so much!!! I'd love to share the orchestral score, but I need to clean it up first haha. These melodies were brought together from sketches and unreleased pieces, so the score is still a bit rough. I'll try to tidy it up and share it as soon as I can. I usually aim for more subtle harmonies and gentler phrasing than Strauss II, and that’s part of my "unique" take haha. I guess sometimes I achieve that, and other times it turns out more robust—like a Viennese waltz. Thank you danishali903 for listening!

Thank you a lot!

Hello @L.S Barros: I love the lyrics in this madrigal. They are so adorable. The textural painting is spot on, too. The 4 part writing is spot on! Great job!