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Thank you thank you thank you!! After getting feedback, I went and reread some Caplin, and brushed up on my counterpoint a little bit and chord voicings. I played with the idea of a core in the developmental section (C section), and a dominant pedal, all that fun stuff. WOW - that means a LOT. Wow. Thank you so much. I really wanted to push myself as a composer and really just commit to the material I had, and instead of scrapping it, repurpose it and find a way to improve on it and make it work. I am very pleased with the end result.

Entry: "Your Daer Beauty lovelier" Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 6 7 7 10 5 5 9.5 6 total; 55.5/80 Average Score:6.9 Review: Melodic material: Cello line, which carries the melody, is even balanced. It introduces the main theme of the piece that is sung in baritone voice. However, we can't hear baritone signing the melody for the other instruments are overshadowing it. It would nice if instruments would drop out when the male voice is signing. Or giving a lighter texture. or only have one or two playing. This is paramount when writing for voice and orchestra. Score prep, instrumentation, playability. : There are several issues with the score. The hairpins are not readable with in the harp part; the bliss is not connected; solo indicators when you only instrument per player. Solo is used in strings where there is more than one player per part, and the composers wants only player to play. Holst did this in Venus. When he wanted to signal a solo player in the string section, he marked "solo". For the areas, where the solo is marked, it is preferred not to have the other instruments playing. This is applicable for oboe part, too. The held note in the reeds is not ideal. When you are writing for wood instruments, you have to remember, that need to breathe. Because there is no phrase markings in the cello part, the bowing will change on every note. I feel you can add more depth here. The triple stop at the end is incredible hard to play. You have wrote out the range of the Oboe'd natural range. In fact, that instrument is no longer in use. It is not in balance with the rest of the ensemble. Execution: Yes, this piece has met the core requirements for this competition. However, the over all mood just seems off. Creativity: this is indeed and creative and orginal piece. Form and time: It was difficult to what the proper formal structure of the composition was, and the timing was slow. Harmony and textures; Overall, the piece is mainly diatonic. There are moments of other modes with in the piece. The piece has colorful textures. Side note: Cantai can be used with Musescore.

This is a massive improvement from your other versions of this theme. Honestly, I can't believe this is the same piece you've been working on, it's the same theme, but an utter transformation. Apparently this also works very well as a string quintet! Your themes are beautiful and memorable, and the harmonization is gorgeous. I can seriously sit down and listen to this a few times in order to learn from your work. This version just goes to show how good structure and a good recording can completely transform the same melody (something I've been trying to tell you for awhile). Your key changing is also really well done. Honestly I feel like you made a massive leap from the previous version(s) to this version. Whatever happened, something must have clicked!

Thank you for sharing this video @Luis Hernández! I completely agree with the sentiments expressed in it. Exactly — I think one thing that the twentieth century taught us composers is that not all innovations have the same generative potential, for opening new directions. You cannot create anything meaningful by simply negating what came before, or appropriating it with irony, approaches that reduce history to a museum of dead artifacts. Developing a personal voice requires building upon models, which can be quite diverse and individual in character especially in today’s globalized society. To be a truly contemporary composer, (i.e., con-tempo, “with the time”) you need one foot firmly in the past, and one foot ahead in the future. To quote on of my favorite writers on aesthetics, Jacques Maritain: It is indeed true that there is no necessary progress in art, that tradition and discipline are the true nurses of originality; and it is likewise true that the feverish acceleration which modern individualism, with its mania for revolution in mediocrity, imposes on the succession of art forms, abortive schools, and puerile fashions, is the symptom of wide-spread intellectual and social poverty. And yet the fact remains that art has a fundamental need of novelty: like nature, it goes in seasons. And Baudelaire, himself considered one of poetry’s greatest innovators: It is clear that systems of rhetoric and prosodies are not forms of tyranny arbitrarily devised, but a collection of rules required by the very organization of the spiritual being: never have prosodies and systems of rhetoric prevented originality from manifesting itself distinctly. The opposite would be far more true, that they have been a help to the blossoming forth of originality.

Honestly, I think it's a weird theme for writing variations because it's very bare. Even though there's an implicit harmony, it's really just a melodic line, not very rich rhythmically, doubled across three octaves. I feel like you have to break away from that vertical pattern because it gets monotonous pretty fast. Meaning, I'd try to write some variations that explore melodies hidden within it, and also fill in the harmonies that are sometimes incomplete in the original theme.

I wanted to share this reflection entitled ‘ORIGINALITY IN ART’ (the trap of wanting to be original). It is by Agustín Calabrese, a great composer and teacher. The video is in Spanish (he’s from Argentine), but I’ve transcribed almost all of it and run it through a translation tool. I think it offers a lot of insight on this subject. We must not worry about being original. At the very least, we must not consciously seek originality. Being the first to do something is not, a priori, a virtue. Claiming to be at the cutting edge today, or even believing that this is possible, makes no sense whatsoever. For the past few decades, we artists have had a global view of the entire history of art. That was not always the case. Bach was discovered and rediscovered several times, first by Mozart and half a century later by Mendelssohn. It is impossible to take things to an extreme that has not been explored before... [...] ‘Adolescent’ avant-garde impulses lead nowhere and fizzle out of their own accord; they are like a snake eating its own tail, and one cannot build in that direction. True innovations are rooted in tradition and build upon it. Innovation as something that breaks with a previous tradition, disparages it and treats earlier practices with irony is an anomaly of the twentieth century. In a healthy culture, styles evolve and transform progressively over a long period of time. Eighteenth-century positivism and the Enlightenment have led to the arts being evaluated using a method appropriate to the sciences. As if art were required to progress indefinitely. This doesn’t mean we have to repeat things that have already been done, but the only way to be original is to be true to ourselves. We shouldn’t write music that we think is politically correct or that people expect of us. Every person is a unique blend of tastes, influences, stories… If we let it flow without worrying about belonging to a particular movement, we will inevitably create something new.

Hey everyone! Happy to share my finished piece - Metamorphosis! I'd love to hear any and all feedback 😁 -Metamorphosis-.mp3 Metamorphosis - (Score).pdf

Thank you for your comment Mark. I will try the French Horn as well , i think it will fit especially the nightmare theme at around mm.33-48. There i currently use the English horn at an interval of a third above the main melody, but i am not sure that it fits well!

Not being a string player I can not add anything to the discussion. So I'll respond as a listener. It is a delightful work ... full of energy. It reminds me of French works at the turn of the century. Mark

I enjoyed your work .... a very pleasing work. I do have one observation wit the orchestration. Why the English Horn? In the Cacophony I feel it gets lost. Why not the French Horn instead? I also think it would add a bit more color. Mark

@Lithl Hello I’ve listened to the music you mentioned by Jon Batiste and RDJ, as I wasn’t familiar with it. I think these artists have certainly chosen a style, but they haven’t created anything new – that is to say, a style of their own. There are loads of songwriters and composers who do this sort of thing, mostly by fusing styles or reinterpreting compositions. There are countless examples. From Stokowski with his orchestral versions of fugues and the like, to, for instance, Ben Lierhouse in the 2000s and his extensive discography, taking Wagner and infusing it with Cuban, Spanish and jazz rhythms, amongst others. Or, for example, Max Richter with Vivaldi’s Four Seasons. I think the examples you give follow that line of thought. And it’s fantastic music, of course. But the things they do or have done don’t introduce anything new. No compositional technique, or aesthetic… For example, the most recent composers (that I’m aware of) who have developed distinctive musical languages are Arvo Pärt and E. Rautavaara. Philip Glass, who developed his technique (which, according to him, isn’t minimalism) over decades. These are composers who are recognisable by their music. And on a different note, for example, Wuorinen is a fairly well-known composer (the opera Brokeback Mountain, etc.). But he uses dodecaphonism and serialism, which were invented over 100 years ago. There may well be other composers in this category whom I am not familiar with, of course. And I don’t think that’s a pessimistic view. Not at all. You can’t keep producing radical innovations all the time. And there’s no need to. In short, what I understand by ‘personal style’ has several levels. Is doing what you want or what you like a personal style? Well, all right then.

This is a lovely piece, @kaiyunmusic. It would be wonderful to listen to this while sipping coffee in the morning sunlight and gazing out the window! Or perhaps playing it quietly by yourself on an upright piano at night... that would be lovely, too! The piece itself isn't long, but it is really nice and deeply evocative. It creates such a peaceful atmosphere. Thank you for sharing! Best, Lithl.

@Wieland Handke, your analysis is intriguing. I agree with you. That being the case, we would need to define Personal Style itself and categorize its types. For example, as Wieland mentioned with the YCF members, I think there are many people in this day and age whose personal styles can be recognized just by listening to them. I share your view on that point, @Luis Hernández. While everyone in this forum creates wonderful music, establishing a truly unique style is still difficult. Hmm, I wonder. I don't think we need to be so pessimistic about today's music scene. I think many musicians in this era have established styles that define who they are. For instance, in terms of "an individual style where you know who it is just by listening," Dorian Concept is immediately recognizable through his minimal compositional format. Jon Batiste is also very clear. If you listen to his recent work, such as "Black Mozart," his approach and sound are distinct enough that you can easily tell what he is doing. Also, I'm not sure what specific era you mean by "current music scene", @Luis Hernández, but I think RDJ (Aphex Twin) is still undoubtedly a composer with a "historically influential individual style"—that is to say, at the level of music history in 2026. While we shouldn't deify him thoughtlessly, considering his influence, his unique style, and the innovations he brought to that era, I believe he is undeniably worthy of appreciation. What are your thoughts on RDJ? A composer may establish a personal style, which is truly wonderful, but that doesn't necessarily mean it will become a Personal Style that leaves a massive impact on future generations. At any rate, while I generally agree with @Luis Hernández's opinion, I don't think we need to be quite so pessimistic about the current music scene :) I also agree that synthesizers have a low barrier to entry. Once you master the procedures, adding reverb to a sine wave allows you to instantaneously create an ambient piece that sounds convincing enough. The democratization of music is remarkable. Including technological advancement, it is a wonderful thing. (Though at the same time, it does result in a flood of not-so-good music.) Furthermore, establishing a personal style in this day and age is likely far easier when using synthesizers and similar tools. This is because, unlike orchestral instruments, a synthesizer allows you to use the sound itself as an element of your style. While subtle differences in timbre exist among violins, a violin is generally just a violin sound. (You could produce an even wider range of sounds by incorporating playing techniques like those of Helmut Lachenmann, though!) On the other hand, using a synth allows you to generate entirely different sounds from the same instrument, making it possible to create a unique sound. We must also be careful with the concepts of "easy" or "difficult," as they tend to foster the simplistic notion of which approach is superior. It is true that synths have a low entry barrier, but I feel they are just as magnificent as composing for an orchestra or classical instruments. Best, Lithl.

Here is my first variation; I need feedback. Variacijos Es-dur pagal L. van Beethoveno Eroikos temą Op. 1.mp3 Variacijos Es-dur pagal L. van Beethoveno Eroikos temą Op. 1.pdf

Thank you so much @Some Guy That writes Music! that’s an incredibly generous offer, and I would love to take you up on it! I’m approaching this cycle at a very unhurried, deliberate pace, so it will likely be a couple of months before I have a polished draft ready for you to test/review. I will reach out via DM once I have a useable draft of the vocal part. I really appreciate your generosity, and look forward to getting your feedback down the road!

Hi @interlect , For sure we are not Gods, but we do have forum etiquette to follow: You may check out rule 2a and 2b: It's our responsibility to keep the thread on topic. I think except for you, the fable simile and that PNG aren't related to the topic at all and what it does is move other members' attention away from real discussion of a truly meaningful topic. I hate everytime when the forum etiquette post has to be quoted, because that means someone violates them no matter intentionally or accidentally, since normally the rules are followed even without knowing their existence. But if they aren't followed, we have the responsibilities to have you acknowledged. We really apperciates your time here, but make sure you follow the forum etiquettes so we can enjoy your longer stay here! Henry

so now your a MODERATOR ?, ................Telling people what they can and cannot say ? using words like UNSOLICITED MATERIEL ?.... In this regard your judgement is Flawed. in my opinion the concept discussed above, is exactly like the FABEL.....The kings new clothes. so please stop functioning like GOD

Kindly Interlect, I do not see how this holds any relevance to this thread or the whole of YCF. As a newer member to the staff, I must remind you to keep posts and comments oriented to their respective threads or forums. Unsolicited PNGs, links or other material not related to the forums is a violation of the YCF etiquette and can be subject to removal. Any subsequent comments not related to CrystalCanon and their thread will be removed for irrelevancy. Please funnel concerns in a direct message to a staff member.

Thanks everyone for the constructive feedback! I have some learning to go, especially with notating music😆 @PeterthePapercomPoser I agree it should be 3/4 instead of 6/8. I don't know why I didn't catch that. The time signatures and notation always gets me. Thanks for pointing that out! @Grant Weep I am glad you enjoyed the piece and it's simplicity! Feel free to use it in your home video. All I ask is that my name, Kaiyun Music is credited to the piece. Thank you!!

i edited it

Hello @elmarad40! I enjoyed the piece really being a „sweet nightmare“ concerning the contrast between the „sweet“ and „dark and mystifying“ musical motifs or themes. The first „theme“ (mm. 1-16) is indeed very pleasant. It reminds me somewhat of pieces written for the Christmas or winter season, in the sense of „Jingle bells“. Now (from mm. 17-31) it gets „broader“ and I would call that theme somewhat „hymnal“. Suddenly, the nightmare starts (mm. 33-48), it seems as the blood is going to freeze in one’s vessels. The fourth theme or motif (mm. 49-65) one could call „the battle“ since it reminds me of a film score – let’s say something like „Star Wars“ (even if I’m absolutely not familiar with movies …), ending with a general rest (mm. 65) – and the four themes return. I like the instrumentation, particularly the dramatic use of the „women’s choir“ in the „nightmare“ theme. Aside from that, there are just a few “minor details” or questions left: You would need four flute players to perform the melody and the chords in the „Jingle bells“ theme, just in the opening bars. In almost all of the timpani passages, I think I hear a snare drum instead (which itself has even not one note in the score).

Hello, What a wonderful piece. Obviously it's going to be a patriotic piece of music. I am assuming that you are Ukrainian and therefore, I am wishing your peoples the the very best during this very difficult situation for your country. I am not too knowledgeable on fugues, so I can't speak to the counter point. I had a listen to the Ukrainian national anthem and I can clearly hear the inspiration behind your piece. I have some minor degree of interest in listening to different anthems in the world. Most anthems are a bit more bombastic and simple. I think you've taken something more simple and really made it something more, while retaining the original spirit of the theme! Your explanations at the time stamps are very helpful. Overall the piece sounds very intricate to me. The sheet music is absolutely beautiful, you must have put a lot of effort into it! at 2:47, there is a moment which reminded me of schubert...so much so that I just had to look it up. I believe that the notes are very similar (schubert repeats the E 3x, you repeat it 2x) @ 0:24 of the below youtube video: Love the tremolo ending! Bravo!

I am FINALLY done with my piece

Then I can help if you want, https://www.youngcomposers.com/t46963/offering-my-experience-as-a-singer/. I could run through some of your phrases to help you get an idea of what it'd be like in a voice. I'm okay with giving continuous feedback if interested.

Hello @L.S Barros! Indeed, a lovely Galliard, and thus, another example for your „personal style“! Since we have no score, I can only express my „subjective“ impressions which arose by listening. I learned, that a Galliard is a Renaissance dance in a faster tempo in 3/4 (or 6/4) time with typical steps (and even leaps, jumps, hops etc.). My only concern is that, given the contrapuntal approach, the emphasis on these steps sometimes sounds a bit too much like “block chords.” Perhaps, there could be more motion beneath that „steps“ in the continuo (i.e. on the harpsichord), in that way as it appears starting at around the middle of the piece performed by the cornettos and the recorders. And, by the way, could (Renaissance) cornettos even play that fast?