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Not yet, but if you're interested we could get something going again. All for fun of course 🙂 Have anything in mind? I'll link this to the chatbox if others may be interested. I will say that it was a bit draining to be a judge, but I'd be up for simple easy topics for short pieces just to see if there would be interest. I personally would write something along those lines.

What's up y'all I got a request from one of my followers to transcribe "Tip of the Spear" from the Halo: Reach soundtrack. More or less just for fun. Nothing commercial or to be performed. And It's something I'm doing to better understand music all together, as an autodidact composer/arranger. I'm having trouble with writing the drumset part of the piece. If anyone can get me started in the right direction I'd highly appreciate it! I will attach the .mscz file and the audacity file I'm using as the reference material. The track is cut into different parts in audacity, with each part labeled with what the section of the sound contains. You should be able to find it relatively easily 😁 (In order to attach the files as they are meant to be used, I've compressed them into a Zip file and created a share-link via OneDrive. Should be able to access it without a login, just fine. If there's any trouble, just reply to this thread and let me know :)) Tip of the Spear.zip And for those who don't want to download the file, or don't have musescore, attached is a PDF and mp3 playback of the current progress on the transcription, to ease the access for everyone. Here is also a YouTube link to a good reference. Timestamp: 1:15 Tip of the Spear.pdf Tip of the Spear.mp3

Do you know about changing noteheads? This is for Sibelius, but I'm sure musescore is similar

I wouldn’t say anything negative about 5, I more so think a fast 4th (between the current 2nd and 3rd) movement would do a lot of justice to this piece. The last movement you showed has lots of beauty to it, my only consideration is many beautiful movements in a row detracts from their beauty. When you are able to compare the beautiful and the “uglier” movements, it makes those beautiful moments all the more moving, and same with the fast movements. I honestly would gladly listen to any of your current movements in person if I had the chance, they are wonderful. Just because you wrote something that is hard, doesn’t mean its bad, otherwise most of the best music would be no good. I will say one thing, in my opinion (as a vocalist) if you have a solo voice singing with an orchestra, you should utilize the voice at least 60% of the time. This is not something that I’m totally sure everyone will agree with me on but I’ll explain my reasoning. In a concerto or soloist oriented orchestra performance, the soloist must stand infront of the orchestra. Particularly for singers, their job is to emote and show the emotions of the music. When you have a singer on the stage, they are the only face not in their music. They look directly at the audience. Long interludes of 2+ minutes are incredibly difficult to keep the audience’s attention. And if the singers sits and then later stands it cannot be acted through. Film music gets away with the soprano coming in out whenever they want, but I believe this should not happen on stage, simply out of a desire to tell a story, in what I believe, is the most convincing way. I’d be curious on other people’s thoughts on this.