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Yes - thank you for pointing that out!

aight im in

Funnily enough, it's very telling of commenters who don't have much of substance to say about the overall quality of my work when they start pointing out the most banale, trivial nitpicks. Not your case by any means, but it's a relatively common occourrence in the comment sections of some my videos. Things like "this is supposed to be 3/4, not 6/8 meter" or "the panning of the background choir doesn't match that of the Cantāmus one". I wouldn't say it's a matter of reputation. I also wouldn't write such replies unless I have any observations or criticsm of substance to offer, as I believe it's a waste both of my time and that of the composer whose work I'm reviewing. Besides, this composition is technically a revised version of and older work: a repost, if you will, so I wouldn't blame more seasoned members who frequently comment on my posts for merely withholding what has already been said before. I had never tried this double-scoring method before, and I must admit it sounds as effective in rendering more human-like expression as much as it seems to pose a whole lot of work. The closest thing to this I usually do is manually inputting the exact tempo gradation values for the ritardandi at the end of each piece, since before MuseScore 4 came out there was no way to insert working rallentandi automatically into the score, or at the very least, not that I knew of. So in order to cover my tracks while still keeping those tempo markings functional, I manually alter the text format to make them invisible, even inside the program itself. That alone often turns out to be an absurdly tedious process and I hate it. At the moment I doubt I could even imagine myself inputting all those rubatos and expression markings and then subjecting those to the same formatting process without cleaving my head open in half out of exasperation. Even if the improvements were marginally or even substantially noticeable, I have much more valuable things to do with my time than attempt to "humanize" the recording manually. The mere thought of engaging in such a tiresome toil for a result that could far more accurately and naturally be replicated through MIDI input or a simple performance recording sends me quite aback. I've heard of this software before. A Discord user by the name of @grpnr1345 applied the software's protocol's to one of my earlier fugues under the same guise, and the results were mixed for me, because the sampling and reverb values were just deplorable, turning the overall timbral quality of the piece essentially into a downgrade, but the altered recording itself, as well as the intricacies of its transformation, felt rather convincing. For context, the audio file in question has been attached to this post. Lastly, thank you kindly for your detailed review. As for the software you mentioned, you're free to apply the Lilypond protocol to my score whenever you feel like it or have time for it. It will most definitely be interesting to see how different users of the same software modify music in the same style, so you have my full permission and encouragement to "humanize" the recording as you see fit. Fugue in G-sharp minor No. 17 Pablo Marinero Cueto 2023 - Zell 1737.mp3 Fugue in G-sharp minor #17.pdf

I'll join

me me me. I intend!

Regarding the Criteria for the Contest I presume the rules include " ORIGINAL COMPOSITIONS ONLY" , Renditions & Covers Rejected ?

Oh reeeeeally... I can't wait to come up with some nonsense

I hope you don't mean that you're composing a solo piano type of thing for this competition... Since we're only doing trios, quartets, and quintets. Also.. are you intending to enter this competition or not? You haven't made that clear from your previous posts..

I'll try to see if I can come up with something, but no promises it'll be done in time...

Hello Mason! I can well imagine how much you enjoyed having the chance to play such a magnificent instrument that literally fills the entire hall or church. And—even though you’re a professional pianist—I don’t think playing the organ is your daily routine, so you took the opportunity to improvise, record a video, and share it with us—thank you so much for that. A few years ago, I also had the chance to try my hand at playing the organ—at Gethsemane Church in Berlin. And I recorded a video as well, but—given my piano skills, which are “barely good enough for playing at home”—I can’t post it; that would be too embarrassing for me and others … What I learned is that while the organ is indeed a “royal” instrument, it is also a “diva” that, despite the magnificent reverberation in a church, forgives no mistakes in articulation, and that it is very difficult for a piano “player” to play legato consistently without the support of a sustain pedal. What I particularly appreciated was that you’ve chosen the key of B-flat minor for your improvisation. For me, this key is one that expresses solemnity, and perhaps also a kind of sorrow or suffering. This impression is particularly influenced by the preludes and fugues in B-flat minor from both books of The Well-Tempered Clavier (where the famous fugue from the second book was one piece I tried to play at that time, along with one of my own fugues...)

It seems you haven't attached anything since you posted? I'd love to hear/see how it sounds if you get around to uploading some audio or sheet music!

A divertimento for pairs of clarinets, oboes, horns, and bassoons, inspired by the wind divertimenti and serenades of Mozart. Any comments would be most appreciated! 1. Allegro.mp3 2. Minuetto allegretto.mp3 3. Andantino grazioso.mp3 4. Minuetto vivace.mp3 5. Presto.mp3 1. Allegro.pdf 2. Minuetto allegretto.pdf 3. Andantino grazioso.pdf 4. Minuetto vivace.pdf 5. Presto.pdf

Thanks very much for listening, and for your comments! It's probably because I'd been listening to so much Mozart before writing this that I included two minuets instead of making one a scherzo - but I also think the last movement provides that scherzando feeling. I'm glad you noted the modulations in the last movement; I got a kick out of writing that bit, as if the oboe realizes it got off at the wrong stop on its chromatic scale and then it takes a few tries to figure out how to get back to the right key.

Hey @Aiwendil ! Nice job on this elegant classical work! I would have called this piece "Divertimento in Bb for Wind Octet". But no matter - very enjoyable nonetheless! I love the unexpected discordant moments in the 1st movement! The 2nd movement almost lulls me into boredom, but soon enough a contrasting section brings renewed musical interest. The 3rd movement to me sounds like a peaceful countryside carriage ride. I'm surprised that you included two minuets in this Divertimento. I would have opted to write one minuet and a scherzo for variety's sake. But it certainly is vivacious and full of positive energy! The Presto movement is probably my favorite of the bunch! It's very scherzo-like with its constant sudden dynamic surprises. Another thing I wanted to mention is that the whole work is very well proportioned! Each movement is about 5 minutes long with no movement being more important than the others. Great job and thanks for sharing! I enjoyed it thoroughly! P.S.: I really loved the funny modulations in the last movement! They're full of Mozartean humor - almost like those polytonal moments in his Musical Joke! Thanks again!

Hello, this is my first time writing for choir. I am being commissioned by a local middle school to arrange Umbrella. I have just the bridge and a final chorus to add, but I wanted feedback. My background is percussion so I don't want to accidentally make anything to jumpy or impossible. Please be specific in critiques, I'd appreciate it! Thank you!

Hi @Fruit hunter ! Quite an interesting work full of extended techniques and giving each section of the chamber orchestra interesting parts - including the Violas! My only gripe as a composer and listener of your work is that in this case it seems like there is no justification or musical reason for any of your gestures. The piece seems to be made up primarily of interesting ostinati and various syncopated gestures. This somehow manages to create some musical interest. But, for my own taste, I prefer the musical justification for a piece's existence to come from the themes/melodies which from my perspective, this piece doesn't have. Still, it does work - and I could definitely imagine it as programmatic music for the approach of a black hole. I don't see the "falling in love" theme as very fitting to this piece though. But an approach to a black hole definitely could work. Thanks for sharing!

Things added: bass distortion turned down- key change and second chorus- effects to various instruments- bossfight progress 3.mp3

You should be our ambassador for gif badges haha.

I'll be the 1st to Accept this Badge.

Hello again! After a few days of chaos in my life, I was sidetracked from getting these comments done. Attached on this reply is a pdf containing my annotations to your Score as well as two pages of comments at the end for simplicity. If you have any questions, I will do my best to answer! PDF: A. Karatzikis - Land of Gods (ANNOTATED).Pdf

Something better. Trio. I am.

Unfortunately, I will be busy this time of year. I am hoping that everything becomes less busy for me during the summer. Good luck to everyone.

THIS IS OBVIOUSLY NOT AN ENTRY FOR THE SPRING COMPETION, LANDSCAPES. https://musescore.com/user/96214813/scores/33034298 This is my second nocturne, dedicated to a fellow student from Year 7. He is an extremely talented beginner thus able to play harder stuff. Moderato-Adagio, Db Major, 3 minutes 22 seconds, and 60 bars. Very short, for me. 5 pages of A4, March 23rd 2026-April 2nd 2026. It is in rondo form, with a cantabile theme. As always, my music is NOT AI Generated. The piece starts with the Submediant, a bombastic octave, here, going to un-resolve in to the V of the V. Then, it decides, to go on a weird cadence of that chord progression I have no idea how to describe because I was just chilling and I was like yes! That feel and what. So yeah. And then the dominant with the minor third thing. This rondo form is more like a ABACA type of thing, so yeah that is it bye.

Very proud of you my guy, keep us all updated!

I got "way-too-drunk ragtime" vibes haha, this is great! I think the constant accel and rit added to that flavor as well. Nice work there Peter

I want to join this competition

Let this comment mark my intent of joining this competition. Good luck to anyone who may join and I am excited to see whom may take up arms in this fun little game of music creation!

The members have voted in this poll; Spring 2026 Competition Poll and have decided about the form and details of the next Young Composer's Composition Competition! As per the previous trend, this competition has no monetary rewards - only kudos and badges. Also in accordance with the results of the 2025 Halloween Satisfaction Survey, we are inviting the members/competitors to participate in the creation of the badge awards that will be dispersed at the end of the competition! So if you have any ideas for particular badges that would accord with the kind of music that will be submitted for this competition and the theme of this competition, let us know in the List of Manually-Awardable Badges thread and we will take your ideas into consideration! Please reply to this topic to declare your intent to participate in this competition! The winners will be determined by popular voting polls! Reviewing and Judging: The reviewing of the competition submissions will once again be spearheaded by our volunteer staff and those who wish to contribute their time and effort to reviewing the entries out of the goodness of their own hearts (and/or sense of fun!). You may use the Official Competition Reviewing Template, or jettison the template and review the submissions just like you would any other piece of music on the website! You could even make your own template! You will be rewarded for your efforts with "Ardent Reviewer" badges in three tiers: Featherweight Reviewer - for reviewing 33% of the entries Welterweight Reviewer - for reviewing 66% of the entries Heavyweight Reviewer - for reviewing 100% of the entries Thank you for whatever time and effort you're willing to give! Instrumentation: as per the poll, the members are free to compose for any kind of trio/quartet/quintet from a Pierrot ensemble to a kazoo trio to a quartet of Tibetan throat singers! Write for the serpent! You may use any combination of 3 - 5 monophonic or polyphonic instruments/voices. Pictures, Photos, Paintings: You may submit a picture, photo or a painting of the landscape you based your composition on. This is totally optional, but if you submit one, please do not use AI to generate your image. However, you may use a screenshot from a game. Or you can use a completely imaginary landscape. Duration: 3 - 7 minutes with a sweet spot of 5 minutes. Deadline: Tuesday, June 2nd, 2026 Entrants thus far: @Fruit hunter @MK_Piano @UncleRed99 @MrBelegro @Luis Hernández @Musicman_3254 @TristanTheTristan @Wieland Handke @L.S Barros @Some Guy That writes Music @therealAJGS @ferrum.wav @Monarcheon Here is the submissions thread for the competition where participants are encouraged to post links to their composition (rather than posting their piece directly into the pre-existing topic - make your own dedicated topic so the members at large can review your music there): We are instituting a policy of not allowing any AI generated works in the competition. Because of this you will be required to detail how you created your piece and submit a PDF score or midi file for the perusal of the staff and members at large. Original compositions only.

Yesterday (April 1st, 2026), I was able to perform on the Margaret Comstock Hall Concert Organ at the University of Louisville. With help from my teacher, we had a lesson on the organ in the evening, and I was given some time to mess around and improvise before we left the hall. I hope you enjoy my impromptu organ work! 🎹 https://youtu.be/HPDI8Vhj2L0

Very true! Actually, as a fun fact, I have begun my journey with the Organ and have been taking lessons for it since the New Year. It was the first time I played on the organ here in our university’s concert hall. Thank you for sharing your story; it’s crazy to think how small the world can seem and how similar our experiences may be. Bb-minor just felt right at the time :)

Hello everyone, It's been a few months since I wrote anything. My last cycle on Laforgues poems had left me a little dry! But this poet has not said his last word and continues to haunt me. So here is a new piece, black, full of soot... Note, you can activate the subtitle in English. Good listening. https://youtu.be/jXMz3lu6Jfk?si=tYOpdEBtnVSJVlfe

From program notes~ Event Horizon brings many ideas up, but the idea of inevitability is one of them something that you can't control and something that is bound to happen something that just leaves you laying around vulnerable to the vast cosmos This piece of music also types in with some personal experienceas well with falling in love with a four part structure bliss , self denial, in love and the singularity. "once you enter,there's no going back" * extended technique, there is a lot of overpressuring bow control. This is to create subharmonics, which will sound an octave approximately below the fingered note*

Thanks for listening. The analogy of crossing an event horizon is within love itself. The unescapable point of no return

Thanks! It's fun to try to include little witticisms or humorous moments while still folding them into the piece so that they sound "good".

Excellent! Could have been played after dinner at court with Joseph II. I would get in trouble, throwing some whole tone chord in or 20th-21st Century surprise of some sort! This has a great purity but also sense of humor about it. I haven't listened to the middle movements YET, but I'm sure they measure up. Reading your comment just above about the oboe getting off on the wrong stop and having to get back to key...I do that all the time. It reminds me of when I'm playing bass to my brother's guitar, covering classic rock, and we go into a jam...and train wreck, or near train wreck, but we chromatically wrench it back into key...there's a part in the piano sonata I'm working on that does this sort of thing, many parts, actually, but one in particular. Your last movement Presto does this well and sounds like something Wolfie might have done; perhaps in a fantasia or musical joke?😉 Oh yes, I realized why it had to be in Bb!

Hey @jejrekmek ! You have such a unique style! Either that or I'm just not too familiar with your influences. Your recordings are amazing. The only thing I wish you included is lyrics to follow along with as I find it hard to understand the words in the recording. It's amazing that you got this performed and recorded so well! It seems so eclectic and eccentric. I'm not even sure how many performers are in this recording and what the instruments are. But I enjoyed it thoroughly! If only I knew the words I could enjoy it all the more deeply! Thanks for sharing!

Hey @skvlkin ! Nice arrangement! Since the usual range of Soprano singers starts at middle C and given that you're arranging this for a middle school choir, it might be advisable to transpose the whole thing up to C minor instead of Bb minor. That way all your low Bb's would be easily reachable by the Soprano soloist. And there doesn't seem to be any really high notes in the piece that would prevent your from transposing it up because of the high range. Also, C minor is a much easier key signature for the middle schoolers to read. That's my only advice and it's coming from someone who doesn't really know too much about voices himself. Thanks for sharing!

Hi all 🙂 Here's a short study for string trio in a rather oriental mood. Hope it will delight you. Best regards, Marc My Shéréazade.mp3 01 - Conducteur - Etude pour trio à cordes n°11.pdf

You have to be EPIC... before you can be an Ambassador.

It’s a meticulous piece of work and it sounds good; however, I feel that while the arpeggios work well on the harp and even the vibraphone, they don't seem very idiomatic when played repeatedly by the woodwinds (clarinets and bassoons) or even the cello. I think you’ve tried to be very faithful to the score, but the orchestra doesn't behave like a piano...

I think I'll put a piano part after the drop, but I have a problem. Recently I had to re- download windows 10 because my computer was as laggy as a potato, But it messed up my files, and that made It so my DAW doesn't load the right Instruments. I'm actively trying to fix it.

Here is my A level composition. I'm doing it roughly in the style of Chopin, but the overall style is just trying to be romantic. The structure is ABA, and the B theme is highly similar to the A theme. Things the exam board focus on are: 'Motivic development, form and structure, harmony, and texture. The time limit is 2 minutes 30, so I'll probably just play some parts quicker next time. Any feedback would be appreciated!Elegy in G#m.pdfWhatsApp Audio 2026-03-31 at 16.37.38.mp3

Of course, nothing compares to hearing orchestras perform live. Dvořák’s style is the complete opposite of Schoenberg’s, including their orchestral works. Dvořák embodies expansive, monumental Romanticism—even more so than Mahler, for example. But atonality deliberately avoids that and aims for conciseness, which is why it doesn’t use large orchestras.

Hey Tristian, very cool music! I always like to hear this! I think this is something that will always carry your curiosity with music, at least it does for me. You went with your gut and inner ear, and although you may not exactly know what you're doing, you hear it as correct and satisfying. Those are the moments where I would look at my own music and analyze it, always trying to figure out why I liked a particular thing I did when I didn't fully understand it.

Yo, Since some people have asked about what I'm up to for film scoring I figured now would be a good time to make a thread. Firstly, I am scoring a very cool action/horror film that begins shooting next month, but they are looking to raise some additional funds. Check out this spoiler-free (mostly), behind-the-scenes video (which I also scored). The film stars stuntwoman and actress Alleya Bourne, whose work you may have seen on "The Last of Us" and the film's effects, including the animatronic creature itself are all practical and provided by an Emmy-winning team who have also lent their talents in prosthetics, makeup and puppeteering to Hollywood films like "Sonic The Hedgehog" and "Child's Play". The entire cast and crew would greatly appreciate any support you might able to offer, which you can do so at this link: The Customer - Film and Storytelling | Seed&Spark Oh and you can check out the teaser trailer (which features a heavily-reverbed version of a vocal track I wrote for it) for another film I composed for, a dark supernatural drama called "Crossroads" starring Dave Greason (MGM+'s Billy The Kid) Both will be doing the festival tours in North America later this year so you can catch them in a number of major cities! Thank you for checking it out and all the support the Young Composers community has given me over the years!

Another Persichetti prompted piano piece. This time the prompt was "24. Extend the following chromatically ornamented piano passage." The form ended up being ABACBA. Thanks for listening and I hope you enjoy and let me know what you think!

Hello I think this is a beautiful piece. The melodic phrases are truly lovely, and while it doesn’t aim for an overly virtuosic style, it does evoke the Romantic era. I agree with everything @MK_Piano says; I think he has a valuable mastery of the piano and this style. I’d highlight one thing he mentions, which is to really reinforce the overall structure of the piece. Give it a clearer ABA form. I think the modulations are fantastic, but I also think a return to the starting key would give it more impact. I also agree regarding that 2/4 time signature. Rather than finding it problematic—since I see it as justified by what’s happening there, the modulation and “precipitation” into another harmonic region—it’s the fact, as he also pointed out, that it isn’t repeated in the recapitulation. A wonderful piece of work.

"Night Train Home" I wanted to write a jazz instrumental but never studied jazz technique before. So I dug into jazz theory three weeks ago and began writing my first jazz quintet! I wrote all the chords and notes and performed the virtual instruments on keyboard. Except drums which started with midi loops that I heavily edited. No AI. Comments welcome!

I am reviewing Vincent Persichetti's "20th Century Harmony" and just finished chapter 3! And so I decided to do the first exercise that looked good to me to try to make an actual piece of music out of (I don't like exercises for their own sake - I think I should always be trying to make living, breathing music). Here is the prompt for the exercise: "12. Harmonize the following melody in four string parts using dominant seventh chords exclusively. Much contrary and oblique motion and several inversions should be used." Like I said, I tried to make an actual piece of music out of it and not be too much of a stickler to the rules. I also tried to approach it not like a chorale exercise - let me know if I've succeeded on that front! Thanks for listening and I would appreciate any suggestions, critiques, comments or just observations!

Hello people! I was searching for some of my old music and found some dances I composed a long time ago in the sequencer (before I started writing on paper). I took the old midi of this minuet and imported it into MuseScore and tweaked it a little to make it look nicer. I am sure that this does not follow the traditional form meant for a minuet (binary) - I don't think I was trying to write in any particular form when I wrote this nor follow any particular rules in voice leading and counterpoint (so I am sure I break some rules such as the one about having melodic tritones). Let me know what you think! I wasn't planning on publishing this as I am currently working on something else but it took only a little of my time and I've never showed it to anyone before. Your comments and suggestions would be much appreciated!