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where is the list of the winners for this year?

Cloudburst 9 was one of my 3 attempts at a high energy, big jazz band work I wrote in 2007. I played keys in high school and college jazz band. But could I reproduce a 70s big jazz band like Buddy Rich, Maynard Ferguson, etc in my Cakewalk DAW? I decided to gave it a try. My track in 2007 was ok but the drums lacked sophistication. So I opened up the folder and discovered I had audio file tracks without drums. The instrument wav files sounded amazing still. Which I was surprised. Drums now remixed with variation and punch. The trombone and trumpet leads are from the same synth brass from my Roland keyboard. It sounded very much like a trombone and trumpet, but it's a synth patch. One of my fav sections is the final trombone solo where the rhythm section energy picks up a notch. Also I have a favorite minor chord in the work. Maybe you'll notice it. Music and virtual instruments composed and performed by me, no AI . Not really a jazz genre, more like show tune maybe, and fusion. I know the mix can be much improved, but I'm not going to remake all instruments right now. Maybe later. DAW: Cakewalk Sonar 7(in 2007) and remixed with current Cakewalk Sonar All Instruments: Roland Fantom, with added vsti DSK Brass for the sax section Effects - Sunset Live Room, and a touch of spring reverb

I enjoyed this too. Has the Chattanooga vibe 100 percent! It's less than 3 minutes and doesn't need a fancy development. Once you get to 4 minutes + maybe add a sax solo or something over a verse. I wrote a few big jazz band pieces as well, in 70's style. Check out my Cloudburst 9. Hope you post something again!

ignis-caeli_NIR2yoeV.mp3

Hi Uhor, Your brass writing is very strong here, and the percussive hits work really well. My only slight criticism is that the melodic line sometimes feels a bit aimless, like it's meandering around without a clear direction. A good listen overall though.

hmmm. The C Section sounds more rustic/medieval to me. I also think that, technically, it would benefit from being written in 6/8 time, starting in the C section, then time modulate back to 4/4 again during your transition into the D section when it goes to 6/8, originally. Overall though, I agree with Peter. It doesn't really strike me as a landscape representation, as much as it strikes me as a short story. I also thought that the D section sounded eerily similar to the Superman theme, though, a bit sped up. 😂 though, Personally, the title "Dusk" doesn't strike as relevant to the music that's written, in my honest opinion. However, none of that detracts from the complexities you have in this score. There are some things you've done very well, such as the percussion parts. They lend well to the orchestration as a whole and I don't think this piece would be what it is without that aspect. Speaking of the orchestration, there were a couple places where you (unintentionally) used parallel fifths in the harmonies, which weakened the strength of them. Try to avoid that, and instead harmonize from a 5th interval to a major/minor third interval, as they tend to be more rich in the way they sound. A Cool piece, nonetheless! -Unc

https://www.youtube.com/watch?v=BGSReFcs4Xs

The program does the heavy lifting by itself. However, you should check over what you write. "Behind Bars" is what everyone using these days. Stone's "Music notation in the 20 century" comes is second. Stone is about modern notation conventions. Behind Bars is about the standards. Both are useful. I would use Behind Bars make sure my score meets standards. Then if there are modern convetitions i might use stone's. Or score study. (score study is the best.)

Thank you for your reply, and I am sorry for the delayed response! Currently, I have a computer automatically generate sheet music for me. What I have in mind is to first use a computer program (such as MuseScore, though I would welcome any recommendations) to automatically convert MIDI into notation, and then study music notation in order to correct and refine the output. As for writing by hand, that is certainly something I would like to be able to do eventually, though I imagine that is still a ways down the road. In addition, my primary motivation for wanting to learn notation is analysis. Just as many of you do, I would love to be able to analyze pieces of music from a notational and theoretical perspective. In short, my two main goals are: correcting and refining the output from software such as MuseScore, and performing musical analysis. Those are what I am primarily hoping to work toward. Best, Lithl.

Sympfonija nr1 2 mov.mp3Simpfonija nr 1 jud 2.pdfHere is my symphony

Hello, Emilia, and welcome to the forum! I must confess; I both love and hate your piece. Post-impressionism is the style of music I personally enjoy consuming and writing, and you have done great justice to that genre with this work. However, as a violist, I feel very overlooked. That you would include the massive and unwieldy contrabass to the exclusion of the strings' darling alto voice is unforgivable. That's mostly hyperbole, of course. I am offended but I'll get over it. Now for my remarks on your hard work. First, the heartbeat pizzicato work very well, with the offbeat providing an organic rhythm that reminds me of something living and searching. Excellent voice-leading choice to put it under the violin's melodic line! I also really like that you showed genuine restraint throughout this work. There are large-scale dynamics and fantastic textural arcs here, sure, but you chose to hold back on the "crazy," and the result is a deceptively challenging piece that really showpieces what a... ahem, modified string quartet can do. Furthermore, the form and structure is very sound, with the return to the heartbeat texture being such a lovely touch. It's impressive that you captured the text's emotional essence rather than gave a programmatic rendering... but that's the mark of a true (post-) impressionist. My critiques are few and quite minor. What struck me almost immediately after listening to the work was how underused the contrabass part is. For the bulk of the piece it holds pedal tones (which is fine in moderation), but there aren't really any passages where it has an independent voice. If you're going to overlook the viola, please consider giving its replacement a more active role in its stead. ;) Also, some of the chromatic melody, like mm. 10-13 and 18-20 in the violin, is expressive, but some of the leaps feel arbitrary rather than intentional. This could be a matter of taste. If it is intended to represent something (searching, perhaps), consider using stronger support in the lower voices to provide context. Overall, I'd say this is a piece to be proud of. Your concepts are mature, the sound you've created is very much your own, and the connection to the text is genuine. Thanks for sharing (and good luck on the assessment)! Best, Jordan

Hello @JP S. ! I get what you were going for but the music sounded much too martial to me to match any specific landscape. But it does nicely portray the events you described. I think the final portion is meant to sound like the sunrise and the awakening of the animals right? But I can't help but notice a slight similarity to the theme from "Spaceballs": Anyway - there's only a slight resemblance. I enjoyed your music so thanks for sharing!

@PeterthePapercomPoser @Henry Ng Tsz Kiu @UncleRed99 Lol, I put the Noteflight link in the first time but for some reason it didn’t go through. I reinserted it now, so hopefully you can see it

This is for a senior assessment task - I am new to the forum and thought that it may be wise to ask for feedback on my composition before I submit it, if possible. It is influenced greatly by Ravel, Salonen and Pärt, and I have aimed to write it in a post-impressionist style. I have written it both for my assessment task, where it will be marked out of 20, and for a school performance as a reflection on the scripture passage Matthew 7:12. I have attempted to include elements of human activity - i.e heartbeats, using the syncopation at the beginning and end, as well as a direction of the players to accompany dynamic shifts with loudness/acceleration of breathing. I would appreciate if anyone has any feedback to give :) assessment3.mp3 assessment3.pdf

Would love to see what you worked on, but your post is only text! We need something to view/listen to! -Unc

and indeed, old member. @ferrum.wav you should check out @SergeOfArniVillage works!

HI there, are you writing by hand or using a program?

Here are my overall thoughts about this competition: Overall, the competition was competition went well. I think new members might find the three-month time limit a challenge. However, seasoned members, with the flow. It allows entries to submitted and to be scored fairly. For the spring competition, I was a judge! There was one entry that stand out! Sadly, it was scored very low. For now, the competition should be for fun. and open to all. But I do not want to anyone to bummed out if they score low. So maybe new members should encourage from seasoned to join after they have a couple works? (just a thought).

Malzeno Battle Theme - MHR Sunbreak (4K/HQ):

Oggdo Bogdo | Star Wars Jedi: Fallen Order OST:

The Grand Finale - Mario & Luigi: Bowser's Inside Story OST:

One-Winged Angel (Final Fantasy VII):

Colgera Battle [All Phases Seamless Theme] — The Legend of Zelda: Tears of the Kingdom OST:

Chris Christodoulou - …con lentitud poderosa | Risk of Rain 2 (2020):

Mora the Spider from Ori and the Will of the Wisps: