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To add a bit of nuance to the idea I had floating around when I started: The start idea (Dbm-Eb#9) is quite dissonant and reminded me of the feeling you get when you are watching a show or reading a book and often something happens around late parts of the "middle" of the story where you sort of feel sore of something in the story. There is that unfortunate upset, the part you need to get over as the viewer, so that the ending makes sense and is satisfying in the way intended. That's what came to mind. From that it grew into a waltz and with my detuned E-string, a morsecodish pattern seemed fun. The way the piece evolves in my head is from this soreness, anxiety - what I imagine like one of those wounds you get for falling on asphalt or gravel, you know the ones. That soreness is distracted by this 11/8-ish thing, in a sort of bliss you get in a bad situation from small things. Everything's not alright and you know something is wrong, but your mind is preoccupied with this random thing for just a moment. The ending of the piece is abrupt, fragmented, it's like coming back to your senses, realizing the grimness of the situation. By complete chance "chapter 11", my original name idea (based on the 11/8 and the idea of this being a chapter in a story around the late-middle) means something adjacent to this - bankruptcy! Failure and reorganizing due to such. So the name has that pun in it (I mainly associate bankruptcy with businesses). To me improvisation and composition (and especially comprovised music which is partially what this falls into - a combination of the two) give a chance to tell about feelings, moments, memories, concepts, colours, smells etc. in a vastly abstract sense. Therefore all of this stuff is going through my mind while playing, and I think as that chapter of the book it works quite nicely :D. But feel free to disagree and give your own thoughts! -P

Here is a quick semi-improvised piece I made! 🔷--...-- - waltz for chapter 11 of a movie (or business).mp3 It is based on 2 basic ideas really, a Eb6/9 (or Eb6b9) to Db6/9 movement (with the occasional Dm/F) and a morse code idea that evolves into what resembles a 11/8 pattern (--...--/2+2+3+2+2). The idea in the very start is a Dbm to Eb#9 (omit5, sometimes with a 6 too; basically a reduced Hendrix). The tuning is Drop-D with the E-string tuned up by around 20-25 cents. This is a technique I like to use to make things sound out of place - or to give them that slight microtonal colour. My question would be building on this. Like many of my guitar compositions this was originally an impro session, then I recorded my attempts to redo that impro session. TWO CENTRAL QUESTIONS. *How much detail is too much?* (in notation) -> As this composition is highly impro-based and there are a lot of small improvisatory moments (i.e. the percussive sounds which have a specific place in the form but not specific rhythms or techniques) and I'm wondering how much of them has to be notated. Also there are moments where I purposefully "throttle" the rhythm, like towards the end, where the rhythm fragments and by effect the pace slows down. What's the best way to both visually AND verbally (an)notate this *fragmentation*? I want to have both visual and verbal, reinforcing one another. *What instrumentation do you see fit for this?* -> I want to add other instruments - or effects too maybe - to this piece once I notate it. My mind first wonders towards R. Dyens' ideas for Libra Sonatine if I recall correctly: Originally for guitar, arranged for gtr, contrabass, fiddle and percussions. Ensemble Dre's rendition (spotify) . But I am wondering what to do. Often these first feel so... intimate for the guitar to me, but I still yearn for other instruments to join. This is a long standing block for me. (I also want to know what you guys think of my, self-claimed to be hilarious title) Love from Finland, Pyry

No.1 - Mountain Storms and Valley Peace 1: Now this is what i call "FULL-ON" , You cannot MAX-OUT the Orchestra more than this. 2: i First heard this Composition on your Main Website, it Instantly brought a smile and a laugh to my face, as i thought to myself : "OH YES" 3: Its Powerful, Professional, Inspiring, Complete.......It has all the Hallmarks Of a Hollywood Blockbuster.

No.2 - Ballade for the Dead 1: Oh My God....... This Composition actually has a " MELODY " I thought Melody's were Banned on this Forum. This Melody is DISTINCT , as opposed to OBSCURE, its instantly Recognized when it presents itself. So that is a Major Plus +++++ 2: This Score has a , Beginning-Middle-End that's also very Evident, as opposed to ........ " Where am i in this Composition ? " 3: Overall Feeling & Sound of this Performance is : Main-Stream-Commercial Movie-Score.

This could be of interest to composers who use virtual instruments: www.composerscompetition.eu They have a separate category for compositions rendered with virtual instruments, so these pieces don't have to compete with pieces for which the composers had the opportunity to actually record them (which is, imo, a good idea). IMPORTANT: The rules say that the performance must be an audio export from a notation software, but I asked if they meant this literally and they don't - as long as it is not recorded with live musicians, they don't care if it's done with a notation software, a DAW or any other method that involves virtual instruments.

Hey everyone! I am decided to go ahead and publish my finished works on the forum. I may re-upload some existing works to match this shift, however, let this score mark the second part of this series! No.3 - Petite Sonata for Strings A Petite Sonata for Strings is a small work for string quartet I composed for my own experiment. I composed the second movement first as I was bored and wanted to try writing something using my theory skills. By fortune, I found some passion and within 4-days, I composed this work. Unfortunately, I fear there may be some challenges with the execution, whether it is for double stops or fast-pizzicato playing. I admit I am not as knowledgeable of string techniques and would love to hear some feedback or suggestions to amend any trouble spots! Feel free to leave any comments about the work and I hope to see you all in the next one! _______________ PROGRAM NOTE: N/A

Hey everyone! I am decided to go ahead and publish my finished works on the forum. I may re-upload some existing works to match this shift, however, let this score mark the second part of this series! No.2 - Ballade for the Dead A Ballade for the Dead was composed for a larger chamber orchestra in 2025 during their call for scores, and unfortunately, did not pass on to the final round of judging. A little defeated, I thought about what to do with the score, and thankfully found inspiration to use it as the first movement of a 3-part suite titled describing the afterlife. It is not yet finished as I am working on the subsequent movements, but am eager to share the start of the project. The pronunciation for the work is meant to be pronounced as the other version "Ballad" instead of "Ballade". I just liked the E better for the spelling 😅. To add, I have found inspiration for a possible choir version depicting the battle between God, Satan and a lonely Priest. Many possibilities to be had! Feel free to leave any comments about the work and I hope to see you all in the next one! (P.S. In my opinion, this work is complete and as of this post, I have no plans to update the score) _______________ PROGRAM NOTE: A Ballade for the Dead is a several-minute long work for chamber orchestra detailing the concept of Death. The piece does not follow a specific storyline, instead, it paints a dramatic and abstract journey through the afterlife. Join the orchestra as they paint the agony, dread, and quiet beauty that might be experienced by a soul as they cross over; whether wandering through Purgatory, facing judgment, or simply drifting beyond, they follow this Ballade of Death.

Hey everyone! I am decided to go ahead and publish my finished works on the forum. I may re-upload some existing works to match this shift, however, let this score mark the first part of this series! No.1 - Mountain Storms and Valley Peace Mountain storms and Valley Peace is my first successful work for the orchestra. Winner of the 2024 Young Composer's Forum, and apart of the Tennessee Valley Music Festival, it was recorded and debuted in June, 2024. In 2025, I decided to rewrite the work to the version you shall listen to. After some small tweaking of the front matter, the score is complete and available for view. Feel free to leave any comments about the work and I hope to see you all in the next one! (P.S. In my opinion, this work is complete and as of this post, I have no plans to update the score) _______________ PROGRAM NOTE: Mountain Storms and Valley Peace is a symphonic work and the winning composition of the 2024 Young Composer’s Forum at the Tennessee Valley Music Festival. Set against the backdrop of the Appalachian Mountains, this piece explores the dual nature of the world; both the chaotic power of a thunderstorm and the tranquil peace that follows. The storm represents the harshness and unpredictability of life, a force of destruction that is as much a part of nature as the calm that succeeds it. This work invites listeners to join the orchestra and experience the balance of forces that shape the world, showing how both extremes contribute to the richness and resilience of nature. [VOLUME WARNING]

Hello! I just finished listening and it's a very nice piece to listen to. However, with some things, I feel there are comments needed to be said: 1. You say Violin Concerto, and I must be honest, this is not a Violin Concerto. If you focus on the literal definition, it means solo instrument with orchestra, which you have achieved, but not once did you convince me that the violin is the true feature. It's like an orchestral piece for a movie soundtrack with a nice violin solo to match... akin to Schindler's List by John Williams. Concerto-style implies that you are highlighting the solo instrument, whether it's through virtuosic writing, or a distinct melody with light accompaniment. Instead, you have the solo violin dancing around the accompaniment textures versus a distinct and clear melody. 2. It would be more accurate to title this "[Title] for Solo Violin and Orchestra" versus a concerto. 3. It is very nice sounding. The textures, instrument pairs and gentle writing make this very nice and enjoying to listen to. You are effective in the execution. 4. The "Movements". You noted the start and end of each movement in a non-standard way. It reads as if they are attacca, or played back-to-back with no break. Overall, I did enjoy the listen. However, when you double-down on definition, I feel it misses points and does not truly match the caliber of the word "Concerto". Good work, and hope to see more!

Hi there! Coming from a reference by Red99. I think this is an interesting start! It is a very stirring piece and I felt on edge at key spots. I do have some comments as both a composer and engraver: 1. Beaming: Be careful how you space out the 8th notes or 16th notes. It can be confusing to play as an ensemble if the notes are too separated. It may cause a non-professional (early-college and younger) confusion if when they try to play the syncopated gestures. 2. Page layout: Consider changing the layout of the page to fit more than one staff per page. It will be really obnoxious as both a pianist and performer if I had to do that many page turns. (The staves seem too big or the page is too small) 3. Measure 19: The Viola and Cello should be written as a 6-tuplet versus a triplet. It's a small detail, but will make it less confusing when reading. 4. Musically, it's too stagnant. It sounds like the same texture the entire time. It gives the effect of "an idea that never ends". As if you wrote a long run-off sentence with brief moments to breath. I feel like instead of bouncing the gestures around the ensemble, there can be a better balance of accompaniment and "melodic" material. Am I meant to bounce my ear/ attention around the ensemble, or is there a solo/ group of sounds to focus on? Where is the direction? Good start, and keep it up!

This original piano piece has very simple chords and melody, with the goal to create a soft, intimate and peaceful mood. Yet also with some underlying uplifting feeling and emotion. Simple, with 'stirring' quality if you know what I mean. Hope I achieved that. Let me know. 2019: This is an improvisation I made in 2019, recording live into my DAW without following the DAW metronome. So I had it in midi but without keeping measures to a beat. I couldn't record to a metronome anyway because there is much intentional rubato in this piece. 2026: Now I wanted to use a better piano sound and that was easy- just play the midi with a good piano vst. However what was not easy is creating the score! Which requires quantized notes. So I had a lot of work remaking every measure to have midi notes quantized, not for playing, but for the score. The piano you hear is playing the original midi file I improvised in 2019 with UVI Model D vst in my DAW. The score you see is the midi quantized, and wasn't used to play the piano. Comments and suggestions welcome! score available for purchase at: https://www.sheetmusicdirect.com/se/ID_No/1956655/Product.aspx Follow score pdf:

Great opening! I love the idea of starting on the harp and bassoon. Also loved the moment when the music suddenly bursts into life at Bar 37. This has fantastic emotional impact! Percussion is used sparingly and to great effect, and I found the melody line in the first movement quite moving. The second movement has a strong rhythmic drive, and makes a good contrast, with little echoes of the first movement in the flute towards the end. The third movement has a mysterious opening, and I really like the demisemiquaver gestures in the solo violin. The fourth movement has some great climaxes, underscored by percussion. When the solo violin melody comes in, it sounds quite Oriental due to the pentatonic structure. This then gives way to something that reminds me of Mussorgsky's "Pictures At An Art Exhibition". Definitely my kind of piece!

Thanks for the comments! I wish to address the simple things first and go to more complex: 1. Big time signatures: Just a preference. My mentor told to use them on large scores to make it easier for a conductor to read. Especially if it is for a quick event like a recording session or few rehearsals. The score is 11"x17" and in-person, the measures are big. I am not worried about reading viability. 2. There is a melody. The entire works is based off the Augmented Chord (C-E-Ab). The arpeggio is the melody and throughout the entire piece, the note Ab is structural. 3. The jurors may have a lot of submissions and they may not listen to the entire work, however, I also have faith that they are smart enough to make proper decisions as they know their ensemble better than I do. I did research into their group and thankfully, they have published their previous programs. They have done programs to capture images, scenes, or landscapes. (See Attached) In my opinion, I wanted to submit this score based on the organizations history as it may fit their direction. 4. With the contrapuntal point, I feel that is just my style. I do reuse that theme and other themes a few times; especially at the end where it is prolonged forever. Thanks again and I hope this sheds some light!

Hello @Luis Hernández, I’m sorry, but today I’m writing only silly comments …. For the first moment I thought it were a piano exercise how to play a crescendo on a long, tied note and how to perform a tremolo just on a single note … 🤣 But no, its seriously! And your solution is a great example what can be done with orchestration if the underlying piece of music (or sketch) is well crafted! Thus it shows, that one should first compose the piece for piano (for example) or for a small ensemble before going to the full orchestration. (Unfortunately there was no score and reading from the video was a bit uncomfortable, since relatively small ...) Very enjoyed.

Hello @muchen_, usually I try to point out first the positive things before giving slightly critical remarks. But the first impression of your chorus was „there is something wrong with it“. But now, after thinking a while about it, I hope my comment will be positive, too – while surely a bit silly. The first impression of the recording was: „much too fast!“ (what doesn’t matter as long as it’s a sketch only). On the other hand, I see your well done counterpuntual approach – even with figured bass. But reading the more „romantic“ lyrics from Goethe, I have the next mismatch in my imagination. With the lyrics I’m reminded on the famous painting „Goethe in the Roman Campagna“ which expresses the connection with nature (and perhaps with nymphs …). While thinking on baroque, I see men and women wearing wigs. And that either in the context of religious seriosity (Bach) or being part of a somewhat decadent party (sometimes Handel) 😃 What can we now do with the piece? As you intend to create a piece in rondo-form, I could imagine that you could express those „clashes“ I described above in an intentional manner, achieving a piece which does not take itself too seriously, but should be well crafted: So you could, for example • not only „transpose“ or develop the A’ section in the dominant key, but introduce more far scales, such as lydian (augmented) and (Spanish) phrygian, creating an interesting and more contemporary harmony. There are just famous examples here in the forum, such as from @PeterthePapercomPoser’s Persichetti exercises. • refrain from the counterpuntual approach in the B and C sections to make them it really „romantic“ (or even „jazzy“???) I don’t know if anything from that what I wrote today was helpful, but hope that you’ll enjoy working on you chorus further.

Hello @MK_Piano, I'm afraid my comments are nice, but perhaps not very helpful in terms of the desired feedback on the ensemble execution etc. Regarding the review of @interlect, I would not be as critical proposing to throw away the first half waiting for the „action“. Let me put it in my own words: there is no lack of „originality“ in the sense that something unexpected has to happen in order to capture the audience and the judges or that the piece is „boring“ in the first half. I think, you have done an excellent job to express the scenes about the ocean musically, and with your program notes in mind, I can imagine exactly which scene your music is actually „painting“. (And even without the knowledge about the meaning of the eight scenes, my imagination while listening would be very similar.) But the objection that the jurors could quickly lose their attention cannot be dismissed out of hand. I think that is an inherent „issue“ or „danger“ (whatever one likes to call it) of „programmatic music“, which is perfect in telling stories and depicting visual scenes or emotions. However - and that is my personal taste or preference as a composer which usually uses contrapuntual technique - there is no standalone musical theme which is exposed prominently at the beginning of the piece and than developed throughout the piece creating the required recognition effect (as opposed to, for example, Beethoven's 5th Symphony, to give an extreme example). In your first scene „The Shore, Waves Crashing“ you have musically painted that shore and the waves (for about 25 seconds) with timpani and base instruments. So perhaps it would be enough time to introduce a melody in these bars that is already present and developed further later in the piece? One could imagine a person sitting on the shore playing the melody on the guitar (or something like that)? A short sentence about the score, more for my curiosity: I noticed that there are in all of your scores HUGE meter signatures. Is there a specific reason for this (e.g. it is common for conductors to enter such time signatures for better readability?). While everything else is very small in a score for such a large orchestra, does this really help? Finally, my best wishes and luck in the competition! Wieland

MP3 Play / pause Prelude in C# minor 0:13 2:13 volume > next menu Prelude in C# minor > next PDF Prelude in C# minor I don't think you should extend it. It is a prelude. Anyways, nice prelude, with innovative ideas.

Many thanks for the kind words! It was made with the free grand piano that comes with MuseScore.

What about Bach V2.0 for excellent counterpoint...

Dmitri Shostakovich | Russian Rendition + Choral Choir Version Ive Created a few Russian Vodka's before, but never a Russian Waltz Quite Intoxicating, I forgot to add the Choral-Choirs. https://www.youtube.com/watch?v=vauo4o-ExoY&list=RDvauo4o-ExoY Dmitri Shostakovich . Russian Rendition.mp3 Russian Choral Choirs Version.mp3

Depending on the type of boss or fight sequence, there are many approaches. Regardless of the fighting scale, I think you already have plenty of knowledge to make this closer to the epics we love in video game soundtracks. 1. Percussion! If you were to add a driving pulse with a bass drum, timpani, or taiko drum, it would add a sense of pulse and "epicness" behind the music. It can match or "dance" with the rhythm the guitar is doing. 2. Add BASS! You have a pulsing gesture that is driving forward, but giving us some bass guitar or keyboard would help warm everything up. Up to you if the bass sustains or is separated like the melody. Thinking as a composer, you can be strategic by design. If the "melody" is fast, driving and energetic, then maybe pair the accompaniment as long sustains or longer pulses versus the same quick notes in the 8-bit. Maybe alternate the melody to be long note sustains and have the percussion and bass be driving instead. It will help give direction in the fight.

[INFO DUMP] Hello! It's been a few days, but I feel I also want to put my two cents. I am a professional Pianist and have been for a few years going so far as getting my Masters Degree, and hopefully soon a doctorate in this field. I can understand Peter's approach with a few caveats in my opinion. I want to share my views as a pianist versus a composer: When I read the title "Sonatine," I immediately think of the Ravel's piece of the same title. I have yet to do an harmonic and structural analysis of your work, and on the first listen, it is very much classical in style versus the impressionistic tone of Ravel. Simply an observation on this point. In terms of playing, what will stop anybody from playing this is the raw notation. It is my opinion that some decisions with the music came purely for playback purposes versus how it should be notated. After playing... probably at least 300+ pieces in my life (i've lost count...), you find there are standard notations for tremolos, trills, runs, embellishing passages, etc. MVT 1: Measure (mm) 25: What is the left hand? I am confused if it is meant to be a triplet or quarter note on 1 with two eighth notes. However, that doesn't fit the beats in the bar... Same at mm. 34. mm.45, why are the trills suddenly tiny? Are they meant to be played exactly, or are they only a suggestion? mm.64 is a little weird in the right hand with such quick thumb hops. It would be better to alternate constantly than hitting the thumb twice. It's asking for tension. mm.125, the left hand is still confusing and a little more so than before. MVT 2: Pianist's do not always need pedal markings to know when to pedal. Since you notated the pedal for the same rate, you can write it for the first few bars and at.. bar 5 for example, write "Ped. Simile". This tells us that you want the pedal to be the same the entire time. It also de-clutters the score and makes it easy on our eyes. To the clutter point, there are too many systems on one page sometimes. It makes it overwhelming for our eyes. You can shorten the systems to 4 measures as a way to help or limit the mvt to 5 staves per page. It will make it really nice to see on the page. mm.11 is confusing in this movement as the left hand notation is broken and feels misplaced. MVT 3: mm.59... we... can't do piano-fortes on a single note... A piano cannot crescendo on a single note once it's been struck. So.. is it piano, or forte? mm.74, I think it is better to write it as a 6-tuplet versus two triplets. Same at mm.90 mm.98-129. Be careful here, you keep the rhythmic pattern the same, but the interval sizes change all the time. This means the hand is constantly changing size and expanding and contracting. It will make it hard to play well, fast and consistent. It would be more comfortable if you kept the same intervals for longer. mm.146 onward: please just use the regular arpeggio sign. The one with the arrow is redundant and just means the same thing. It is uncommon notation for standard piano repertoire. mm.234: most likely, it will be played a little slower for clarity when done live. mm.386, yeah.... unlikely to be played that fast. Even with normal arpeggio fingerings, It will be played slower. mm.396-397 will be played as a glissando. Better to write that in too for clarity. Overall, it is very difficult and more importantly very uncomfortable for the hands. Specifically, you start the movements in a fine capacity, yet, it gets really hard to play near the ends of MVT 1 & 3. Please do not let this comment discourage you and I only wish to shed light into how a pianist would tackle this. It has potential to be programmed into a recital, and if you were to sit down and work out the kinks, I think the product will be swell.

Nice and comforting! What piano sound? Also there are musical markings to indicate playing 'freely' such as rubato and expressivo, etc