Leaderboard

From 2023. computer with the original music score died from water damage unfortunately so there is no score. This was the most Christmas like song on my channel that I could find.

Ok sometimes it's 6 weeks, other times it's 3 months haha Ferrum being the true lieder he is and coming in clutch with the words... cool stuff! It'll be interesting to hear what you guys come up with

I really like listening to this style without the score, since I think part of the magic is not knowing exactly how long the phrases will be, or when a solo bass note will ring, etc. This is great Luis, it's always a pleasure to hear your music! It reminded me of quiet falling snow at night 🙂

That's fine if you want to write lyrics. Composers collab with lyricist when it comes songs. But even so, those songs are rehearse and then perform by actors and actress and singers. Again, in the media industry (depending on the budget), there will be either live musicians, midi, hybrid, or synths. Which proves there again there won't be AI support. In concert settings, they prefer live recordings. (but midi is fine if that is all you have). i.e. not AI!

Calm yourself. Note also that defending religion on the internet is a pointless endeavour and I'd advise against it.

@Wieland Handke : bull eyes. It was just about to say the tone and style reflects Avo Part compositions. @Luis Hernández I love how you emulate that style and character in this composition. And as @chopin your emotional depth is something that the romantics were write. @SeekJohn14v6 Suno is AI. No serious composer would use it.

Looking at the score, I was initially somewhat surprised that a lot of notes had lost their stems. Being sure that this was intentionally and reading a bit about „Tintinnabuli“, I now understand that device of minimalization, even in the notation. The piece itself exudes a kind of calmness and melancholy which emphasizes the silence and toughtfulness one would feel around Christmas time. Concerning the „Tintinnabuli“-technique, it is surprising for me how one can create such colorful melodies from mostly stepwise thirds and blend them together with only arpeggiated triads of the main tonic chord, without loss of harmonic functionality and without introducing dissonances (but, haha, I think I’ve discovered a G in bar 18). Thank you for sharing and a happy New Year 2026!

I come to you once again with my 12th Muzoracle casting! This time, Jen asked the Muzoracle "who, when, and where will I meet my soulmate, romantic partner?" (Muzoracle is a storytelling/fortune telling/divination tool similar to the Tarot card deck, but with cards with musical concepts and 12-sided Musician's dice and Solfege dice. Perhaps it may be thought of as a special musical Oracle card deck.) My interpretation of the cards and dice are displayed below. Since the casting featured two cards in the suit of Voices, I used a Soprano and an Alto. Also, there were three cards in the suit of Strings, so I used Violin, Cello and Guitar. Finally, there was a card in the suit of Percussion, so I used the Piano. I chose the Piano and Guitar because Jen has played these instruments in the past and she also happens to be an Alto. If you'd like to find out more about Muzoracle and how castings are interpreted go here: https://muzoracle.net/ This short musical interpretation of Jen's casting is about ~2 minutes long. Since the black 12-sided Musician's die landed on G, the piece is in the key of G which pertains to the throat chakra. I created the following melodic/harmonic underdrawing guided by the cards and the dice. Since the first card drawn was a Conductor of Voices card, I started with a lone soprano singing a chromatic neighbor tone to B, A#. The Violin and Guitar come in next since the Minor 2nd of Strings was drawn in the 3rd position. Following is the Alto which joins the Soprano since the Minor 2nd of Voices was drawn in the 4th position. Finally, the Piano comes in when the Tritone of Percussion card was drawn in the 5th position. The whole piece is repeated since the De Segno al Fine card was drawn in the 7th and final position. If you've gotten this far, thanks for reading! And I hope you enjoy listening to this short vocal chamber work I wrote to represent Jen's Casting. Comments, critiques, suggestions, or observations are of course, always welcome. Thanks for listening!

What a nice piece. Tonal, but quite adventurously so. An absolutely fascinating ending, by the way.

Hey everybody! Thanks very much for all your comments! Happy New Year!

I still plan on submitting one more piece, although I don't want to submit it too late to give people time to review it. I think we can wait perhaps till after the weekend to finalize the Christmas Event to give everyone time to review! Thanks for the idea!

I double checked the submission thread and now I think I have accomplished my reviews on all submissions of the participants. Did I forgot anyone? And – Christmas seems to be a busy time – where are all the other reviewers? I posted 20 reviews but received only seven ones (for two submissions)? Perhaps the deadline for finishing the reviews should be extended? However, it was again a great fun for me (even combined with some effort) to participate in that event. Thanks for organizing!

Hello @Fugax Contrapunctus, I discovered your YouTube videos a few years ago when I was looking for new/original compositions concerning fugues and counterpoint. In your channel information I found the link to the Young Composers Forum and so I have to thank you, consequently, that I am here today! Since my own compositional style or approach is counterpuntual, too, I’m very interested in your work and have been following—albeit quietly—your transition from piano/harpsichord fugues to the increasingly vocal-oriented works in the last years. I’m still „stuck“ with my piano project composing 24 preludes and fugues in the form of the WTC, and so I usually write 3- or 4-part fugues (and for now, one with 6 parts). With this experience in mind, writing an 8-part counterpoint cannot be overstated, since you’re literally running out of notes if the voice leading is not organized cleverly. I don’t want to repeat the comments and what you stated yourself about a capella choirs, but there is no instrumentation comparable with the clarity and expressiveness of the human voice. There have been lots of inventions and improvements in instrument building during the centuries, but in my opinion, the achievement was more and more a better blending of that instruments and the introduction of different „noises“ and effects (as one can do with a full symphonic orchestra), but the focus on the „voice“ itself has been lost by that development. So I appreciate the revival of the skills of the Baroque and even the Renaissance era, to transfer them to the present day, possibly in combination with contemporary elements. For me, the most valuable submission to this 2025 Christmas event.

It's amazing how perfectly these two Christmas carols blend together, and not only might you be confused about which song you're working on, but the listener is surely confused too, but in a very pleasant way. Someone might therefore maliciously say that Christmas carols are all the same, but this example proofs that it is really the case, in their universality of the gospel. Yes, there are some slightly dissonances which I like very much, so that the piece doesn’t become „to sweet“.

Thanks! I do wonder if it maybe it would also work at a slower tempo. A brass ensemble playing this outside a church on a chilly, snowy Christmas Eve is exactly the sort of image I was trying to conjure here. Thanks for listening, and for your comments!

After listening your second Christmas carol mashup and following the score I must say you have „invented“ or „promoted“ a very interesting „new genre“ of counterpuntual composition (at least for me). The exciting thing about it is, that the listener usually doesn’t notice the elaboration needed to achieve the mashup. They hear melodies, harmonies, and phrases that are familiar to them, but at the same time something unexpected is happening. I called it „new genre“ since you do not combine single voices together, such as in a canon or a double fugue, but take phrases of two to four voices, which are already harmonized together, and put them against similar phrases from the other carol, thus creating a counterpoint not only of voices but of – to say choirs. That's amazing and very inspiring!

I very enjoyed to listen to this entertaining and festive piece. I cannot give an „explanation“ about the things behind the form, just have an imagination: The A section of the scherzo could be called „anticipation and impatience“, like children playing around before Christmas presents are handed out. In the B section of the scherzo, Santa Claus is standing at the door and suddenly knocks (in bar 29). The trio section for me is the „dance of the reindeer on the ice“ (haha).

Ha, a fugue, that’s something for me! It's fun to hear how you've transformed this a bit hackneyed song into a baroque, festive harpsichord performance. The use of running sixteenth notes in the counter-subject, and especially in the interludes, creates a nice complementary rhythm which drives the piece forward in a festive way and gives the listener a good distinction between the thematic and transitional sections. This flow is only slightly disturbed in bars 66-68 where I, in my opinion, also wished more semiquavers to maintain the momentum. I particularly like the coda with the pedal point and the final quotation from the theme in measure 120! In that sense: Happy New Year! P.S. If anyone is a bit bored about „Jingle Bells“ and Co., Shostakovich’s Prelude 15, op 87 is a more spicy version of „We Wish You A Merry Christmas“ while the possible reference to that melody might be completely unintentionally.

Hello, all. Coming at you with something a little different for the event, but I hope you find it at least interesting, even if you don't particularly like it. I've basically decided to get really good at writing for strings nowadays, and since I'm mostly an atonalist, cello is the easiest since computers can't play that kind of stuff; the implied timbres are super important. So enjoy hearing me poorly play this miniature fantasia on Jingle Bells. I promise there's a method to the madness 😄

#3, the date is unknown for this one, but i remember writing this during a final term in high school (2021 maybe). it was cold and rainy outside. i finished early and decided to write. i hadn't titled this one so i decided to do so for this post Unease Sunshine saw me walk He whispers nervousness through my ears I sit on my wooden chair Calmness to crowdness out of leash Maybe he's right, the first tends to brute I wait for the master to come Each seconds send waves of arrows to my soul Each noise amplifies the burden on my mind Burden of the final trial It laughs at me everyday The guidance who speaks wisdom I despise to escapism Lost in the snow of thoughts I try to find composure Anxiety then pulls me back She neatly imprisons me I love anxiety Her company when I'm alone Her hands multiplying those weights to keep attention Let me see unreal possibilities beyond comprehension aight, those are all the poems that i could find, hope you like them !!!

okay, for some context, i had to dig up an old friend's old discord dms to find these. also, i dunno your expectations on these but i hope they're good enough? they are very old so my writing skills were...meh i guess i dunno. you can pick/use/choose any of 'em. #1, this is from october 2018. i think this is about the time that i was discovering my feelings for somebody for the first time ever. i was clueless lmao Question. Once upon a time In a day with lots of rhyme In a school with students learning In a break with never ending I saw a lady Who walks silently Towards the cafeteria With none other than her friends I cant believe what i just witness As i stopped walking because her sweetness As the lady smiling beautifully But, I don't know what to expect A year passed My feelings lasts But there is a question That needs an attention "How do i get to her?" I asked "When is the time?" I shrieked "Where is the place? " I reflected But I'm afraid, I'll be rejected I saw the lady everyday Finally i knew her name With the feelings of lame But, when do i get her? The same question popped up As the curiosity blows up But when do i get the answer When she doesn't even give me a letter? I tried to give the lady a letter With thought that i will get to her But the reality have really shown me That the lady did not even read the letter The same question popped up As the curiosity blows up But when do i get the answer When the lady didn't even read the letter? #2, this is from november 2018 Time's One time, i look at the window With the sadness being so low I enjoyed the beautiful noon And i wished it won't be gone so soon A month passed I saw a tower being constructed I like that tower So my happiness still in me later 2 months passed There's no birds around I felt kinda sad But there's no sign of anything bad. 4 months really passed away The scenery changes really quickly As my word become more badly I felt like the old times are really done I felt like the happiness are really gone Usually i like new good things But this time, it really stinks It stinks like an old socks That are left in the ship's docks Why...does...that...happen....?

Hello to the whole community.😃 I am a composer of classical vein. Sometimes I’m told that my style is a bit outdated, but no matter, it’s my musical vein. I would be grateful to exchange with composers like me, a little 'out of the present time'. Thank you very much. 😀

Yeah.

@TristanTheTristan I love the piano sketch of the piano concerto. I know it is a challenge to write such a massive piece. It is great idea to write out piano sketch before you write out the full score. Not many understand this. I can the influences you mentioned throughout the piece. It definitely reminds of their writing. Using musescore is great a tool, but as @Wieland Handke mentioned it would nice to have audio version, too. and full orchestral score...when that is done. 🙂 I would love to see that. We can help you out with that. Start slow with that.

For this piece I made two versions. While inputting the piece with all its microtones into Musescore, it ended up sounding quite bad with all the microtones that I had included (probably owing to the fact that the piece is already quite dissonant without the microtones). So I removed all the microtones and made a version of it that's free of any microtones. That's the 1st version. Then, once I was done with that version of the piece, I went back and made a 2nd version with very light microtonal embellishments, mostly only in the melodic voices and only on minor chords (making them sub-minor in 24TET, meaning I brought the minor 3rd of minor chords down a quarter-step). My intent with using those particular microtones is to make the piece even darker than it would be if it was just a regular minor key piece. But let me know what you think about both versions and which one you like better! I welcome your comments, suggestions, critiques or just observations. Thanks for listening!

This loops really well, I totally missed the repeat lol I agree with the others, I liked the microtonal version more! I think strategic use of microtones, like being able to make adjustments to particular chords is a cool way of going about their use, rather than making certain pitches within a scale slightly altered. Is that something a lumatone could be used for more versus period instruments that used microtones because of their tuning? Either way, grand ole' fine piece Mr. Peter

Hey, cool music, and welcome! Very Christmas-sounding indeed 🙂 The part at around :40 reminded me of the third mov. of Sibelus' 5th... you know that one? Check it out if you haven't, it's a masterpiece. Thanks for sharing, and give some thoughts on the other Christmas pieces in the event... you'll find more will check out your music if you listen to theirs too!

Alright let's see what kind of hocus pocus magical mayhem these dice and cards concoct today... listening... Wow you sure are getting good at these haha. This is great, man. Some of the falling piano parts reminded me of Chopin, but as a whole it had such a dreamy quality to it. As a guitarist, it all looks fine and playable to me, and having ringing notes might bring an even more idiomatic texture to the music. Well done Peter!

It's music like yours that helps me continue to grow as a composer. I read through your and Peter's conversation, and it's over my head haha. I really liked the atmosphere you created. Sure it was dissonant, but it was a beautiful dissonance that I didn't know could be achieved. And THANK you for performing this live, I don't know how software (as good as it's getting even) could reproduce this, let alone capture the spirit you gave it with a gorgeous performance, and from the composer is even better. This is truly well done, and a piece that I've had a lot of joy listening and re-listening to. Thank you for sharing! 🙂

Hello @TristanTheTristan, in contrast to other participants sharing „miniatures“ (starting with a 9 seconds long piece), you submitted a large multi-movement opus, which, to be honestly, overwhelmed me a bit with its variety of themes and textures. I just have listened it for one time completely and try to give some imaginations „from memory“. Its a Concerto for Solo Piano and I like that you have added some marks concerning the instrumentation (such as „Flauto“ or „Tutti“) which helps to imagine a possible orchestration. The opening theme of the first movement has somewhat Christmas mood – thus connecting it with the event, however that mood is lost more and more with the upcoming variations of the thematic material and texture. The second movement - as being more slowly - was easier to perceive for me. I especially enjoyed the surprising resolutions or chord progressions in the arpeggios in bars 14, 31ff! Starting with a march, the third movement also bears a melodic section and a lot of material where I did not find out how they are related together. All in all a long piece with much effort and much potential. I would appreciate if you would share it as MP3 audio, too (for the next time). This would make it easier to listen to it multiple times, which would be absolutely necessary to review a piece of that amount thoroughly. Finally, I would like to say—and this is not necessarily a criticism of your composition or the piece itself—that I find the quality of the pieces presented on the Musescore website disappointing. At first glance, one might think that the scrollable score is very useful. However, this is negated by the poor articulation and dynamics, which make trills and tremolos sound very unrealistic, for example, and lead to rhythmic disruptions when introducing triplets, etc. Played by a human (or with more realistic articulation, dynamics, and agogics), this piece should therefore be very exciting.

It’s just a fun fact that I grew up in a little German town called Pulsnitz being famous (at least in parts of Germany) of its centuries-old tradition of gingerbread making. But honestly, I just know how they taste like, I never cared about what they might „sound“ like. Now listening to it, it reminds me of a musical box which is a typical handcrafted Christmas accessory. So it really puts me in the Christmas spirit by combining its cheerful sound, despite its repetitions, with the smell of mulled wine, grilled sausages, and even gingerbread at a Christmas market.

Your replies make me believe more that you may be lobbyist or salesperson of Suno lol... Maybe you never write absolute music yourself... Tintinnabuli is a technique and compostional style, but I guess if I explain to you I will once again be stigmatized as "elitism" ,so, 😴. Henry

Hi @Luis Hernández! I love how peaceful this piece is. That bare A I don't know why, reminds me of the Veris leta facies in Carmina Burana: Thx for sharing! Henry

Hi @TristanTheTristan, This is a nice classical style piece of music. It reminds me a lot of Bee's Emperor Concerto. Is this one related to the Christmas theme? I notice some of the playablitiy issue, for example in b.25 2nd movement the left hand will be too fast to be played. There are a lot of themes and texture throughout the piece. I don't take lots of effort into reading the whole music, but how are those materials related to each other?😗 Thx for sharing and joining the event! Henry

there's no rule for the theme right? i have written several poems from years ago if you want one @TristanTheTristan

@Kvothe Thanks for the info. hmm I’m new to this music tech stuff, i’m gonna have to look all that stuff up later. I think Suno would be very expedient and helpful to composers to lay out their vision and blueprints completed real fast and then have everyone on the team hear the creation then all work together with the same goal and sound that was already created to practice and perform it live. If i was a real composer I would use suno to supplement my skills and bring my vision to life so I already have something to show the team and it will make coordination faster. I could even just send them my creation before we even meet at all so they already know and we would all be on the same page whether they liked it or wanted some revisions done. A lot of work would have already happened before the live rehearsal, a lot of time would be saved too.

Uh when did i frame myself as the ultimate right person? When did i use God? You are the one committing blasphemy not me. You are the one telling me what the Lord thinks of what I do. Show me where in the bible that God says that what I do is wrong. See? you are calling what I do blasphemous? show me a bible verse to prove yourself right and i’ll submit to your opinion. I’m not framing you as blasphemous. You are being blasphemous. “Lord Jesus will be happy of your service clicking a button.” Your words. Mocking me, and using the Lord in the mockery thus using His Name in vain. Do you not understand that is blasphemous? If you don’t understand then there is no point conversing with you. The bible is clear: “‘You shall not take the name of the Lord your God in vain, for the Lord will not hold him guiltless who takes His name in vain.” ‭‭Deuteronomy‬ ‭5‬:‭11‬

can't meet deadline sorry