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Fantastic, even better because it doesn't sound strange at all. And the bass is very powerful.

Thanks for your review @Luis Hernández! No I usually keep the Violins and Violas on basic triads while giving the Cellos and Basses on added notes that don't belong to the upper triad. In the first few bars the Cellos and Basses have F (while C major above), Bb (with G7 above), A (with C major above), G (with D major above), C (with G major above), B (with C major above) ... and etc. I always try to give the Cellos and Basses a foreign note to the predominantly triadic harmony above. You should post some of your exercises here as well! Thanks again for commenting!

Hello I have some questions about this exercise. I already mentioned that this book by Persichetti is like a “bible” to me. I also do the exercises he suggests. In this case (I have the Spanish version, but I think it's well translated), I think it says that the added notes are on the cello and double bass (in octaves). Strange, isn't it? I've only analysed the first few bars, but I think your added notes are more in the upper registers, is that right? Regardless of all that... it doesn't matter. The piece is very beautiful. It sounds emotional and intimate, and everything fits together very well. Perhaps it's a very heterophonic style (I mean, with little counterpoint), which I don't think is bad. It reminds me a little of some of Mahler's work. Very good work.

Verse 1: Woke up, it’s raining again Empty room, still holding my breath Trying to smile, but it slips through my hands Like I’m watching my life from the edge Pre-Chorus: Was it always this quiet? Was it always this cold? If I’m meant to be living Why do I feel so alone? Chorus: Why am I here? Standing out in the open Searching for meaning, but nothing is clear Why am I here? Drifting through all of these moments Wishing my purpose would finally appear Tell me, why am I here? Verse 2: Eyes wide, I’m lost in the crowd Wearing masks I can’t figure out Moving slow, but my mind’s running wild I keep waiting to feel something now Pre-Chorus: Is there something I’m missing? A part I forgot? If I’m meant to be someone Why does it feel like I’m not? Chorus: Why am I here? Standing out in the open Searching for meaning, but nothing is clear Why am I here? Drifting through all of these moments Wishing my purpose would finally appear Tell me, why am I here? Bridge: Maybe someday I’ll know Maybe truth’s in the unknown Till then I’ll try to hold on To hope I can call my own Chorus: Why am I here? Standing out in the open Searching for meaning, but nothing is clear Why am I here? Drifting through all of these moments Wishing my purpose would finally appear Tell me, why am I here?

At 14, Adam talked about summer dreams On the train and he's laughing with me Talkin' 'bout skateboards, his cat, and the girls that he likes I ask, “Have you got someone in mind?” She’s at the all-girls school He says something about loving her smile Suddenly questioning mine بياخد مخدرات و هو بيتعلم سواقة بيقضي وقت معاها He likes a girl, he likes a girl He likes a girl, he likes a girl And I'm not a girl, I'm not a girl I'm not a girl, I'm not a He likes a girl, he likes a girl He likes a girl, he likes a girl And I'm not a girl, I'm not a girl I'm not a girl, I'm not Used to pretending I'm cool مش ھاقدر أشرح Why my stomach is tangled in blue احساس جدید لیا He’s half-French with a crooked grin Cherry cola, bright on his skin Wasted on some girl who lets him win But why do I feel hollow within? Why am I burning? ما تفوق شوية He’s not your boyfriend He likes a girl, he likes a girl He likes a girl, he likes a girl And I'm not a girl, I'm not a girl I'm not a girl, I'm not a He likes a girl, he likes a girl He likes a girl, he likes a girl And I'm not a girl, I'm not a girl I'm not a girl, I'm not a girl I'm not a girl F**k that girl.

Since I have been long fascinated with crazy, unusual ensembles I present to you the piece "Always something unique" for flute, clarinet quartet, accordion, marimba and double bass. Composed in 2023 for the Alpe Adria festival of Music, it was premiered in November in my hometown Mengeš. It is not a perfect performance, there were some mistakes so do follow the score with the performance. It is a pretty demanding piece, particularly in rhythm and overall coordination (there was no conductor). I follow my standard fast-slow-fast form, with finale being pretty high pitched and ear penetrating. The style could be described as a mix of some Stravinsky, modern French music and my own personal idiom.

It is a nice piece. I like it because it is not so much cross-over in style but rather more of a classical art music, based on baiao dance rhythms. It is the similar approach I took on my five tangos for various ensembles. The only problem I see (hear) in no real climax. I wanted something more. Otherwise, good job!

Welcome to the forums. Can you provide a score to your music? I'd be able to provide better feedback with a score.

This is really great. I am astounded by how beautiful this work is!

This time the prompt was "5. Extend the woodwind passage featuring polychordal ornamentation." Thanks for listening and I'd appreciate any of your comments!

Hi everyone. So far, I have studied with Percy Goetschius books and am practicing small 2-part inventions (about 1 minute long) as taught in his Elementary Counterpoint and Applied Counterpoint books. I wonder if there are other beginners working on this and willing to share our works. My goal is to use counterpoint with freedom, yet in a sensible way. I use Myriad Melody Assistant piano. Here is one example, with a motive from Handel (F maj). I apologize for the poor sound quality (I'll try to find a good alternative for my .myr files). Thanks!

I never read books on my shelf lol!!!

Continuing with the polychordal exercises in Persichetti's "20th Century Harmony" I wrote this Brass Sextet. The prompt was "2. Harmonize the following first-trumpet melody in six part brass harmony (three trumpets and three trombones). Use a predominantly polychordal texture with occasional unison relief." I chose to use two trumpets, two horns and two trombones instead of the suggested instrumentation. Thanks for listening and I would appreciate any of your comments!

Just make some things. The making will lead to questions, and the combination of the questions, and the practice making will make you better over time. Don't be afraid to get started. Don't expect to be any good. You WILL be bad at this, because you have never done it before, so go ahead and start and just have fun! We call it "playing" music, so play! 🙂

I have already uploaded March and April from my Spring Trilogy, here is the finale, May. Since this month is traditionally rainy in Slovenia, the beginning has some features of rain with various aleatoric timbre playing on orchestra, while cello brings the initial melodic motif with its various transformations. Music becomes more "down to earth", more energetic and passionate. It continues to bounce between these two contrasting characters and ends with cellist playing improvised harmonics of a basic tone of c with unisono violins and violas while lower strings play some low ranged aleatoric pizzicatos.

Did you ever have any music theory lessons? How old are you? I started by improvising on the piano and then writing down these improvisations. During my intermediate school studies I was intensely studying harmony and counterpoint from 16th to 19th century theory. I learned the use of instruments by arranging numerous popular pieces - I had a band with a flute, clarinet, violin, trumpet and trombone players. They were not advanced players but sufficient enough to learn how to late compose for these instruments. If I were young today, I would recommend anybody to start with arrangements and harmonizations of folk pieces or children pieces. Initially to use basic functions of tonality (tonic, subdominant, dominant, followed by supportive functions of IInd, IIIrd and VIth chord of the key, and then beginning to venture outside the single key).

Just begin composing. Don't wait to "feel ready" 🙂 You can start for free using Musescore and read scores (highly recomended) on imslp a long with youtube for audio. Start learning how to read scores with some basic music theory. find a teacher or teach your self. Then post the scores here on the forum for feedback. That a lone can take you far with some patience. Just focus on small improvements constantly every day! Good luck! 🙂

Hello beautiful souls, firstly I want to tell you I love listening to music. When I listen to a piece of music, I wonder what the inspiration of the composer behind it is. I want to know if all this talent is god gifted or we make it with practice. I want to pursue music composition as my new hobby, can you please guide me through how I can start? It’s not like that I know nothing about music as I used to play guitar and piano in my college days but I’m not remember that much now and yes please consider me as a complete beginner. Thank you.

Composition Competition Regulations (Currency: KRW) General Regulations Throughout its festival and competition history, Busan Choral has fostered cultural exchange and promoted high quality of choral music by attracting notable artists, conductors, and composers to one of Asia’s top choral festivals. The Busan Choral Composition Competition seeks to engage with aspiring young composers and to encourage the creation and performance of new works written for the choral music genre. The 1st winning work will be premiered at the 2026 Busan Choral Festival & Competition during the week of October 22- October 25th, 2026. Eligibility 1) Composer must be born between MAY 31, 2006 and MAY 31, 1986. (exceptions may be considered under the BCFC committee's review.) 2) Compositions must not have been previously published or awarded in previous composition competitions and never publicly performed. Length and Format 1) 3-10 minutes in duration 2) Piece must be for unaccompanied, equal or mixed voices choir. 3) Smaller, portable percussion instruments are allowed. (Xylophone, vibraphone and timpani not allowed). 4) Text can be chosen from Latin, English or Korean. If another language is chosen, a detailed English synopsis and pronunciation must be included in the score. Application (May 31, 2026 Deadline / Korea Standard Time) 1) Complete Online Application Form (http://www.busanchoral.org/bcfc/competition/c_apply.asp) 2) Résumé/CV (*.doc / *.docx) 3) Copy of passport or ID Card with date of birth in JPEG format 4) Score in PDF format 5) English synopsis and pronunciation 6) Midi recording (by computer software) in MP3 format 7) 3 original copies of the score mailed to the Busan Choral office by May 31, 2026 (postmark deadline). Submitted original copies of scores will be used only for judging so there MUST be No Personal Information Included on the score for a fair evaluation. Scores submitted to the Busan Choral office will not be returned (Address: Busan Choral Festival & Competition / 82, Bosu-daero, Jung-gu, Busan, Republic of Korea, 48973). 😎 Only one piece per person acceptable Application Fee 1) Free Results 1) Winners will be announced on July 20, 2026 on BCFC Website. 2) Composition will be judged by a panel of international jury. The jury's decisions are final and cannot be appealed. Awards 1) First Prize: ￦3,000,000 *Only the top prize winning work will be premiered at the 2026 BCFC in the week of October 22- October 25th, 2026. 2) Second Prize: ￦2,000,000 3) Third Prize: ￦1,000,000 Publication and Rights 1) Busan Choral Festival & Competition and the Korea Choral Institute will hold publication rights of the score. Busan Choral Festival & Competition will hold performance and recording rights for up to two years following the results of the competition. This will be negotiated between Busan Choral and the composer. 2) Copyright will be retained by the composer . 3) The winning work cannot be submitted for future composition competitions. Deadline 1) Online Application: By May 31, 2026 2) Result Announcement: On July 20, 2026

HI @PeterthePapercomPoser I can tell you are enjoying these exercises! I love how you use the harmonic and melodic motives that he presented thorough out the entire piece. I think we need to have something like this for YC challenge. 🙂

Thanks! It's a bit of a lighter finale, like that of the Hummel trumpet concerto or of some Beethoven concerti, which I thought was needed after the long and serious adagio.

Take an already orchestrated piece of game music, and oldify it!

Kirby's Epic Yarn - Weird Woods

Kirby Super Star OST - Trees in the Depths of the Earth