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I'm glad most people are favoring the fun part of the competition rather than monetary rewards. I think it's best to keep it that way for now, and your divisions would be good to use as the badge rewards instead of what we did. However, since we wanted it to be a poll instead of actual judging this time (it was thrown together pretty quickly), I like the categories we used as easy fun ways to vote. In hindsight, as I voted, I noticed there wasn't any "most fun" category, which yours clearly would have won to me. @PeterthePapercomPoser pointed it out in our discord, and we should've had that category. These are easy ways to improve managed by experience and feedback. With actual judging, your way is the way to move forward imo. More afterthoughts: I like the poll as an alternative to judging, I think both are equally valid. I'm not a fan of seeing who you vote for, but I know I'm in the minority with that. The framework for assigning numbers kind of got out of hand imo, but I'm glad people seemed to have fun with it. It wasn't necessary, but I'm glad it was an aide for people in determining which pieces they liked best. Being up front about WHAT we would be voting for would maybe be better for future poll based competitions.

Thoughts on my current rough-drafted ideas / progress on a new symphony orchestral score I'm working on? I've updated the structure of it in it's entirety, and have decided to take a different approach on it's design flow... Haven't really come up with much else beyond this point. But I'd like to hear some feedback regarding the current feel of it. There are still some areas where the notation hasn't been filled in all the way, for some measures/chords. So disregard anywhere that feels "thin" :) Thanks in advance 😉 New(2).pdf New(2).mp3

Hey @Mooravioli! No doubt your piano prelude is good. And congrats on having your teacher playing it for you! It's a pleasure and honor for you! I had actually listened to this piece before your teacher played it haha. I remember I said that I wanted the trio section to be longer, and I think you do extend it in this version! I think the flow is better now! The harmony and texture is very interesting throughout, they certainly reflect a sense of escape from the time of anxiety now. I really like the b.37 section, even though it's light-hearted, it's easy to ignore the beautiful counterpoint there. I also like the reappearance of the first theme where you instead use the texture of from b.37 first, before recapitulating the lucid texture in b.108. Really enjoyable piece, thx for sharing!! Henry

Have listened to all of this now. I noticed all but one of your movements follow the naming scheme of Mozart's Requiem. The suite feels mournful, with a flavour of Antiquity, and makes good use of percussion throughout. Sounds like Halloween music at times. The highlight for me was the mysterious last movement. Reminded me a little of the final movement of Holst's Planet Suite. This comes as a welcome relief, after the frantic dissonance of the preceding movements.

Yes, do check out my old-school Requiem! It is not death-obsessed, but rather a hopeful Requiem in a major key. The Introitus is Romantic, but it goes Neoclassical pretty soon after. I broke up the text just like Mozart did, and in the manuscript even had a funny where I wrote, in the exact place Mozart croaked, his apparent last written words: Quam Olim DC...da capo. Actually, start here! Requiem In Bb Major-Quam Olim II Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

20247637.mp3 Sagai Go (Reprise).pdf I have reworked this piece since I last shared it, a few months ago. Sort of at a loss for what to do next, so I've been going over some older scores, correcting mistakes, improving harmonies and adding sections in places where it felt lacking. This score in particular, I had always felt was missing something; like the last section into the outro was rushed. So I added in a section between there to smooth out the transition into the outro, and have also changed the key of the score. I think it came out quite beautifully. I wasn't very scrutinizing to it for much else other than it's flow. If there are other mistakes that I missed, please feel free to call em' out 🙂

Hello Everybody, I know it's been a while since I was last active here, but I wanted to share a new prelude I've composed. This is a rather short work I plan on sending off to a piano composition competition, since I think the recording will do it justice. Another thanks to my piano teacher who made the effort to record my work. Here is a description of the piece: “A Prelude written during a time of uncertainty, and it reflects the idea of anxiety + release. However, the trio section is especially beautiful. I recommend listening to it while eating vanilla ice cream; it will enhance your experience.” 🍨🍯🎹 Let me know your thoughts in terms of harmony, melody and form. Score Thank you truly

My tribute to the current state of the world.

Hi to all. Just wanted to share this recent performance by professional harpsichordist Katarzyna Kowalik, of my work "The Sun Dappled Forest". The work was inspired by J.S. Bach and William Byrd; but I guess it also sounds a bit Halloweeny: so topical! Apologies for the low record level. (Please note the applause at the beginning and end is very loud by comparison!) Hope you enjoy.

Duh it's good enough lol. Your teacher is awesome, you're awesome... I hope you win!

I remember when you posted this piece while working on it. It's come a long way, congrats on the performance!

@PeterthePapercomPoser @Thatguy v2.0 Thank you for the replies! By no means did I mean to dissuade the structure you implemented. You cannot conform to everybody and no competition is going to be "fair" for every entry. You will have to find a system that is both fair, and not overly strict. I believe my logos was not as clear as I intended in my previous reply. Two things can be true at once and it is refreshing to see many different musicians advocate for a low-pressure means to simply write music; or share existing creations they feel have merit. At the same time, I do not want to take away from the people who are less experienced trying to throw in their works with professional composers. I do not see it fair if they do. As you hinted for the next possible event to be a Christmas one, with no limit on ensemble size, would it make sense to lump and judge a symphonic orchestra work to a solo sonata with piano accompaniment? Or a digital work to a sacred-vocal work detailing a hymn? This was the basis of my thinking in my OG reply. I simply wonder if there is a mesh between formal and informal. Here was an alternate take on my idea(s): Keep the judging by poll, and limit the votes to categories; as you did. With using a table for review, I wanted to suggest another addition to all the info you provided. You added a table showcasing the scoring system (7-7.9 = Average / Standard ). I meant to suggest adding a diagram that defines the words being used: Taste, Originality, Textures, Score Presentation, etc. Taste - Your personal score from 1-10 Score Presentation - How the score is organized / How easy it is to understand the score from 1-10 Originality - How unique does this score sound from 1-10 Creativity - How well the submitant made and used a theme from 1-10 etc. I thought it to be a good way to avoid confusion of the terms by defining the language you want to use. I do not believe that add-on to take away the fun aspect of this. Thanks again!

Now you know the truth😂

I appreciate this kind of comment 😂😂😂

That's the reason I don't post my scores, they are not helpful, if you read my profile description you will understand, thank you Tristan!

It's actually the piece I wrote in Spring '24 that made me finally at age 55 learn music software! I was trying to teach the local songbirds a few words in English, but the best they could come up with was "Beard hear, bird ear" (I have a beard) repeated endlessly, and a couple other things...he's here! Who's here? Like a baby. Now, I have entered other than some short choral pieces and a short (G&S-scale) opera all the music I care to enter unless I write something else...the overture of the opera is at least entered!

Thanks for listening! My style goes with my bipolar nature. When I’m in a down cycle, it tends to be more dissonant and frantic, while the manic episodes tend to produce a more romanticesque feel. I based the structure for this off of Mozart’s, with a few omissions. That requiem is one of the pieces that made me want to be a composer and has always inspired me. I’ll have to check out your piece!

Thanks for taking the time to listen. The main mood of the piece is a little nihilistic, hence the frantic dissonance, but I’m glad you caught the more plaintive feel of the Pie Jesu. My intention was to conclude with a more mournful, but calm thought. Almost as a recognition of the evil in the world, but with a resolution to carry on.

Haven't listened to the whole piece, but enough to know that you are a good composer, but this style is not my cup of tea! I should talk; I used to write like that 34 years or so ago. I have simplified my style. On the other hand, the music seems to reflect the state of the world, THIS world at least, and without going into detail, I would say the problem with the world (plus ca change, plus se la meme chose) is that the lunatics are in charge of the asylum! 🤪 I wrote a Requiem in Bb Major, posted here in choral music, string orchestra. It is different than yours. I went old-school and mainly just doubled the SATB parts in the strings, though there are preludes and postludes, interludes, SOME figurations. It is modeled on the Mozart-Süssmayr Requiem in D minor, but it doesn't sound like Mozart, except in the occasional turn of phrase.

OK, corrected the impossible chords; you think measure 107 is a jarring transition? You are correct! Bb major, F minor, Gb major, C major 7, and I wrenched it into dominant E major. Perhaps I was in a jarring mood that day! 🤪 Now I have to correct the darned manuscript. Yuck. I take pride in my manuscripts being neat with very few corrections, though I have been known to store them on the floor. Beethoven's apartment had manuscripts on the floor, copied out pages drying on furniture, and an unemptied chamber pot STORED UNDER THE PIANO! No wonder he was a better composer than me, or, well, most anybody.

Hey Kyle @UncleRed99! It clearly is captivating and promising "rough" draft! I like the majestic tone overall. I think after the climax in b.31, before going to a quieter section in b.34 you can have a transition instead of just a chord, but it's just a draft now so it's fine haha! I hope the contrasting section in b.34 longer and stay away from the F minor for a bit longer too. Also in the last adagio in b.51 I would add more movement and countermelodies to vary and contrast it with the Adagio beginning, like adding tremolos and some quaver movements between the chords like in b.53 and 58. Thx for sharing! Henry

Hi @Kvothe! If going for a stricter counterpoint, the clash of tritone in b.3 and 4 between B and F would not be permissible. The leap from C to A in the left hand in b.6-7 would not be permissible since it's a major 6th leap, rather than a minor 6th. And to smoothen the counterpoint, whenever after a leap use a step in the opposite direction, as the technique is used by Palestrina. Thx for sharing. Henry

Oh no! I liked all the pieces very much. Your „Trio Variations” are neither „terrifying“ nor too „well-behaved”; I find them „good balanced.” That's why I placed them in the third category, right next to my own. (Hahaha, you voted for yourself ...)

MP3 Play / pause twinkle 0:00 0:00 volume > next menu twinkle > next PDF twinkle Rachmaninoff is crying...

Kotzwara. You can check yourself.

Hello, I enjoy this piece a lot. I appreciate the key changes and the harmonic context given. The rhythmic content is also really good. The only things I have to say, though is that the left-hand could be a little bit louder in the introduction in the first few measures first 30 most likely. Also, this is just a playability issue but make sure that some of the left-hand stuff if it goes above the staff to put in treble if need be. I think you’re already doing it but there’s some parts where there’s like six ledger lines on the left hand. But I enjoy the moment given off from this piece. Good job.

Hi Bjarke, Think it's a good piece; but the ending feels rather abrupt to me. If it were my work, I would end with a pattern of descending arpeggios from high to low register, followed by the chords you already have. Might also be worth experimenting with ebbs and flows in the tempo to create some rubato. Not sure it would work; but may be worth a try.

hello mark, thank you truly for your comment, there were many influences that went into this work: shostakovich’s jazz suites, a few latin american rhythms, and my own personal anxieties during that period. I think the trio was directly inspired by my efforts, in trying to find a sense of peace through writing. I believe the added extensions are default chords I usually navigate to, to bring color to the harmonies. This is a more personal work, but hope it maintains some individuality. elated that you enjoyed my work.

Very interesting harmonies, rhythms,and ,melodic lines ... Can you tell us something about your style and intent here? Jazz? I enjoyed your work. Mark

You're welcome! I enjoyed it! First, thank you for voicing your opinion! When we've done competitions with monetary awards and official judges in the past this was an issue that people have brought up. However, ultimately, when the different scores from the different judges were averaged together, as long as the judges tried to accurately reflect the differences between the various musical entries in their scores then once the scores were all averaged together, even if say, some of the judges scored the pieces in a different range of the scale than others, the scoring still worked to accurately reflect the differences in quality between the different entries. In the past when we had competitions with monetary awards, the entrants were kept anonymous by sending their entries by personal message to me. I would then add their entry to the submissions thread. I think in a free contest, this requirement might be too strict. And I personally don't like the idea of keeping the names of the judges anonymous because it discourages discussion and interaction between the judges and the members. Thanks for voicing your opinion!

First of all, I have to say that I really enjoyed this competition! It was an intense two weeks—on the one hand, to finish my own composition/arrangement, and on the other hand, to listen to such a diverse range of great musical works. I think all the participants invested a lot of time, effort, and passion to achieve such a result! I must admit that – puh – reviewing seems to be harder than composing! We have seen a lot of atonality and non-traditional musical structure (to mention some, but not to be exhaustive all "Dima’s National Dance" by @Dima, "From Above, Now Below" by @Thatguy v2.0, "Diptych for Piano Quartet" by @Cosmia, "Aos Si" by @HoYin Cheung, "American Cryptids" by @Micah, "Fumage" by @Justin Gruber, "Clowns" by @sebastian Pafundo, "Woodwind Quintet" by @Maxthemusicenthusiast, "The Mist" by @Kvothe, "A Hollow Theme for Halloween" by @therealAJGS) and – on the other hand – more „beautiful“ and „well-behaved“ pieces (for example, "Ghost Town Requiem" by @UncleRed99, "Bagatelle No. 6" by @Omicronrg9 and "Dance from the skeleton ball" by @MK_Piano), which I very enjoyed, too. As „balanced“ between this two poles I would consider "Daunting Steps" by @ferrum.wav, "Trio Variations" by @TristanTheTristan and – lol - my own piece. Therefore, the decision was very hard and due to the subject of the competition, Halloween, the more outlandish pieces were in the better position. The dedications of the badges „spookiest/scariest piece“, „strangest/weirdest/most outlandish piece“ and „biggest thriller“ were – in my opinion – not so easy to distinguish, so that we have one glorious winner in nearly all categories, "From Above, Now Below" by @Thatguy v2.0, my best congratulations. Special thanks to @PeterthePapercomPoser for organizing that funny contest! What did you think of the official competition reviewing template? For me, the competition reviewing template was very useful, giving the focus what to review a clear structure. Even if I did not give a textual review according to the eight categories but only a general one, scoring according to the definitions (i.e. between 0 and 10 points) and calculating an average was useful and helped to determine the winner(s) for the different badges. I could also imagine that in future competitions, the template and the numbers will be used in an official sheet to determine the overall winner. In such a case, however, it would be necessary to formulate more precisely how we should award the points in order to achieve a fair result that can be used for such a calculation. I noticed that some of the reviewers often awarded 10 points to pieces/categories they liked, while I was a bit stingy with this top score (apologies to all participants). I would like to say that such differences in the use of scores between different reviewers, although consistent in their own assessment, could lead to a kind of injustice. What would you like to see in future competitions? I think, the most revenue of the competition is getting a lot of review in a short period of time. Therefore, I would like to keep the competition „just for fun“ without monetary awards. An interesting variant could be to keep the competitors and judges anonymous. Such a rule could be combined with the mandatory use of the template and its usage for the calculation of the winner, as mentioned above. In such a case it would be necessary to require that all participants review all the other entries to achieve comparability and fairness. However, such a strict set of rules could imply that some members would hesitate to participate, thus we could try out that for one competition, but should not apply it to all future ones.

Just relisten to it and I love the C minor version more 😁

Thanks Peter! I actually don't have a decent solo violin for MuseScore, but am hoping to pick one up in the Black Friday sales. Those included with MuseStrings sound hideous, so I refuse to use them! I do have a reasonably good patch from Cinesamples; but it has an annoying bug, where the dynamic is different on each pitch. It takes a lot of work to counteract this, by inserting a new dynamic mark on practically every note! That demisemiquaver (effectively a grace-note) on the flute in Bar 64 is audible on solo; but in the mix it's being somewhat drowned out. If I accent it, the note becomes too loud and squeaky: so there's not much I can do. I think it'll be ok with a real musician; though it's right at the top of the range: so could be challenging to reach. As for fermatas, my composition tutor doesn't like them: so he's instructed me to change time signatures instead. I often find myself drifting away from the opening time signature whilst I'm writing. It seems to be a natural trait of mine. It's just the way I hear/feel the music.

Funny!

Here are two songs for voice I wrote back in February. These are pieces I wrote shortly after a break to composition, I was too busy to write anything for most of last semester. They are a setting of Goethe's two "Wandrers Nachtlied" poems, famously set by Schubert and Liszt among others. I wrote this pair of songs on/around Valentine's Day, I had a lot on my mind and these were the output of that. I'll be performing them myself relatively soon, as will a friend of mine, and I will post a real recording soon. In the mean time, enjoy the MIDI 😝 Let me know your thoughts!

Good luck with it😂