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Hellooo, This is a very short galliard for keyboard with the diminutions written out, in a real performance scenario the diminutions would have been improvised by the player on the spot, but since i can't perform it and i don't have a harpsichord (yet) i just have written them note by note. Enjoy! LOB 107 Gagliarda Detta la Maritima.mp3

hello folks, while I'm working on some exciting big projects, I found this absolutely heart-gripping piece by Sibelius. It instantly found a deep part of my soul. I wanted to arrange it as some parts could be instantly imagined in my head. Some others where hard to execute with such beauty as the original performance, but i wanted to try. Original: https://www.youtube.com/watch?v=vD7jiXWqhPs Arrangement:https://youtu.be/vZcKCGwQsrA The Spruce.mp3 The Spruce.pdf

this is a bit of a vent piece and a self-soothing one. ive realized that one of my uses of composition is as means of escapism too. also keeping the titling convention of "To ...." of my woodwinds pieces. to look at your phone, to scroll through social media, to see strangers go out, doing activities with their friends and partners, to observe their poses as they look ever so content, to envy their posted achievements of their life, to fantasize how it would look like if you were out there having your own fun, to then have a dilemma of the smokes and mirrors of social media, to realize these posts are just highlights of their special days, to notice and understand their hidden struggles behind the pictures, yet, despite all of that, they still had those days. they still had the reminiscence of their experience. they still experienced them while youre here, stuck, as the world moves so fast around you, as you fantasize your own contentment alone. enjoy. feedbacks are welcomed. To Fantasize Contentment.mp3 To Fantasize Contentment.pdf

Hi again, @jejrekmek! This is a truly wonderful piece; I find myself wondering how you manage to create something so original. Your compositional ability feels less like the result of mere practice and more like an Individual ability. I really enjoyed this track, and the melody stayed with me long after it finished. The melody is catchy, yet the composition itself is musically fascinating. I take my hat off to you. Like @Henry Ng Tsz Kiu, my personal favorite part is the section starting at 5:30. The whole song is lovely, but that part really draws me in. The following comments aren't about the composition or the ideas themselves, but simply about the mixing (though I’m not particularly skilled at mixing myself, I’m sharing this from that perspective). I think the composition and sound choices are excellent. Again, this is about the mix. I have no intention of imposing my views, and the final decision is yours as the composer. There is no objective "right" or "wrong" here, it’s a matter of personal taste. I hope you’ll take this merely as a small, tiny suggestion. To make things clearer, I’ve roughly divided the song into five sections. Section 1 (0:00–3:35) I think the key to this section is "spatial breadth." You might want to try widening the sound of the vibraphone a bit using spatial plugins. The occasional noises (or synth-like sounds) might make a stronger impression if you increased their volume and panned them to move across the stereo field. However, the current state—where the sounds are almost audible but just out of reach—actually adds an interesting element that contributes to the section's mysterious atmosphere. So, leaving it as is might be fine, too. Additionally, adding a touch of reverb to those sounds and the vocals would likely enhance that sense of spatial openness. There is noticeable audio distortion (clipping) at various points throughout this section. While I am unsure if this was intentional, given the section's sense of transparency and its dreamy, mystical atmosphere, I feel the track would be more effective without the distortion. I felt that plugins such as OrilRiver, Giant Verb, DearVR Pro2, and Exoverb would suit this track well (all of which are completely free). I think the vocals would benefit from a bit more reverb and increased volume. For reference, I have attached images illustrating the spatial positioning. Section 2 (3:36–5:45) In this section, I felt the volume balance between the guitar and vocals was off. Instead of panning the guitar hard left, it might be better to position it "diagonally forward-left" relative to the center. There is a lot packed into the mix, so I cannot list every detail, but the rock guitar panned to the right could perhaps be made clearer. The right side feels a bit cluttered, which seems to diminish the impact of other sounds. Also, the kick drum sounds a bit detached (too isolated); it feels like it is playing on its own rather than as part of a cohesive drum kit. Section 3 (5:46–6:37) Personally, I like the placement of the ethnic drums. However, the sounds on the right seem panned too far outward. Perhaps you could try adjusting the angle to point them a bit more toward the "nose" (the center) relative to the listener's position? The same applies to the guitar. Section 4 (6:38–7:53) The main issue here is the vocal volume. Or rather, the entire song. Simply adjusting the vocal level should dramatically improve the overall quality of the track. Also, you might want to fix the clipping (audio distortion) occurring right at the very end, around the 7:50 mark. Section 5 (7:54–9:29) This part is good. You could perhaps raise the piano volume slightly? But as it stands, the mix doesn't cause listener fatigue. This section also demonstrates that there are no particular issues in the instrumental passages. The piece is truly wonderful, and I really enjoyed it. Finally Do you have a YouTube channel? If you can develop it successfully, I think some people would be captivated by your music. It would be great if you could establish a unique video style, much like Louis Cole or Jacob Collier. Of course, the music industry is incredibly tough, so I can't guarantee you'll become a superstar like them. That said, had I discovered you on YouTube, I would probably love your music. This is an important point, too: I’m not just irresponsibly saying, "You're guaranteed to succeed!" Luck plays a role, and please don't neglect what you need to focus on right now; keep attending to those priorities while also working hard on your music production. If there’s anything else you’d like to ask, feel free to send me a DM anytime. I look forward to your future work! P.S. I hope I didn't come across as sounding condescending. If so, I apologize. I actually appreciate your sound immensely, if anything, I might be the one who should be learning from you. Kind regards, Nd 6829.

A very pleasant sonata with clean lines. I’d classify it as early classical in style, perhaps with hints of musique galante. I think it would sound good on a harpsichord. But given that the piano has been chosen, I do think it’s advisable – as @MK_Piano rightly points out – to be thorough and precise with the articulations.

Hello, @jejrekmek! It seems no one has commented yet, I wonder why. I find this track really interesting; the unique atmosphere is fantastic. Your exploration of rhythm is excellent, and I love the chaotic vibe, reminiscent of Igorrr, as well as your sense for harmony (I noticed you used some intriguing chords in your other piano pieces, too). The way the song unfolds is unpredictable as well. I see from your profile that you're around 18 years old? It’s really amazing that you’re creating such an original atmosphere at that age. Age might not matter. However, there is one point that stood out to me: the mix feels a bit rough around the edges. I’m not exactly good at mixing myself, but let me share my impressions as a listener. Upon first listen, the volume felt too high, and the vocals were getting buried by the instruments, making it difficult to clearly hear the melody and individual instrumental parts. Personally, I think adding a bit more reverb to the vocals or positioning them more three-dimensionally within the mix would help. You might already be aware of this, but how about using plugins like "DearVR pro2" to position the sound more precisely? Instead of relying on extreme panning (left/right placement), using such tools to position instruments spatially would likely improve sound clarity and the overall mix. You might also want to lower the master volume slightly. I think your work is really original!

Wow! What a cute piece of music to have listened to. Very reminiscent of classical style and a treat to come across. This said, I do have some comments regarding the work; partially with engraving and partially with the music/form. Engraving: From what I can see, everything is playable for a pianist, and with this style, or earlier, I would put more articulation marks like slurs or staccatos. It will help us understand the dance-styles better throughout the work/ see the phrase ideas more clearly. If I were to go and play this at my piano, I would approach it as a Mozart keyboard work and focus a lot on phrasing and articulation. For my preference, since this emulating classical style, I would also use classical dynamics (p, mf, f and ff) versus mezzo piano. Form: The thing that stuck out the most was not the musical content or the form per se, but how you notated each B-section in the first two movements. While Mozart did add key signatures for some developments within his sonatas, I do not think it is necessary to change the key signatures in each movement as they are so short. (Of course, change the key sig on each movement however) This is not a challenging piece in the catalogue of piano repertoire and if I were to give my students this to sight-read, even they could get thrown off by the signature change. I think it would be better to remove the G-major signature in mvt. 1 and keep the sharps explicit. Same in mvt. 2 with the C-major section. Lastly, I do think in terms of musical content, you can mess with a more active recap (or final A in the rondo form) in each movement. Simply hearing the themes again without a change in the harmonic scheme or texture in a big way leaves each movement as a little lackluster; at least in the way they end. Here is some food for thought and I’d be curious to see what you can come up with in the future. Good Job!

Thanks Henry! I'm really pleased you like this work, because I wasn't sure it was any good. I actually tried to use con sord. on the violins; but then I discovered the little CTRL-T speaker thingy has disappeared. So I can't access that setting anymore. Seems to be some kind of bug within MuseScore, and it only manifested after the latest update. Weirdly it's only affecting this project. When I load other projects, the little speaker comes back. Not sure how to put this right? I guess some of those notes are probably too high for the violins without using harmonics; though I haven't actually checked. Glad you like the bassoons combined with harp, as I wasn't sure about that orchestration. Hopefully they can play those big jumps across the break; but I'm not 100% sure about that either. My time signatures are a bit all over the place in this piece, and I will be simplifying those at some point. Thanks again for your review! Alex.

Hello everyone! This is my first complete sonatina in three movements: I. Moderato – A simplified sonata form movement that introduces the main musical ideas. II. Andante – A gentle minuet-like movement that provides a moment of calm. III. Allegro – A lively rondo that brings the sonatina to an energetic and satisfying finish! Hope you find some enjoyment in listening and all feedback is welcome! YouTube link ScI. Moderato.mp3ore II. Andante.mp3 III. Allegro.mp3 I. Moderato.pdf II. Andante.pdf III. Allegro.pdf

Hi @MinGry ! It's a really good attempt on a Classical sonatina style and I think you capture the style. I think for the 1st movement you can pay more attention on voice leading and harmony. In b.12 the G major melody is played on top of a C major chord which would be out of style. I think the modulation to G major in b.13 is not successful because you don't introduce V/V before modulating, you are only repeating the G major chord and suddenly have the music enters G major. Usually the music either have V/V chord before getting to V, or have an imperfect cadence ends with a medial ceasura before going to the dominant key. Forb.30, 32, 34 and 35 I will have F# instead of F natural of the semiquaver figure. Thx for sharing and I will check the remaning movements. Henry

Hi @Some Guy That writes Music ! I am not gonna comment anything on scoring or engraving since it's my so weakness and @MK_Piano will comment on that anyways lol. I have zero experience in arrangement too so my following comment is merely subjective. I think the beginning can really be accompanied by a harp. Will you think of having the piece in C minor? Then the violins can play the melody with the lowest G, and I think that will be stronger than the viola melody unless it's played by its C string. i personally would want that intensity of tone with the lowest string of either violin or viola given how beautiful Sibelius's melody is, but it's just me 😛. I actually think of having the b.33 melody played by English Horn AND cello as well as I love the high register of cello haha. I think for the catastrophe in b.45 polyrhythm can be introduced with some triplets and sextuplets (and possibly quintuplts too) beneath the semiquaver figure as to capture that effect in the original piece. For b.59 I actually think of the melody played a single horn as in Brahms' 3rd Symphony to capture that solitude, since strings is always used before for the melody. Thx for sharing this arrangement! Also, thx for introducing this piece, it's fxxingly beautiful! Henry

Hi @Alex Weidmann ! To me this one is a fascinating work and I agree this one would be better in an orchestral setting when there are so much color available. You are very good at creating etheral color with the winds and harmonies as always. I love the color and timbral contrast brought in b.18; I'm not sure whether it will be difficult for the bassonists to play the wide leap though as I'm not familiar with the instrument. There are lots of really high notes for the strings: will you add artificial harmonics and con sordini to them as well? I think it will make it sound even more ethereal and mysterious. Really enjoy this one, thx for sharing! Henry

Hi @Carl Koh Wei Hao ! What a wonderful piece! I really enjoy it! This would really make a very good salon piece. The atmosphere is well created. I love the piu mosso parts which is clearly very idiomatic and Chopinistic! I also like the modulations in the middle part, especially the false recap in Gb major in b.163 and a magical return to Eb major in b.191! However I agree with @Grant Weep that the climactic phrase in b.198 should sustain longer, and then have the return of the A part in b.204 to be in a louder dynamic with more exciting rhythm beneath. I love that piu mosso in b.219! Thx for sharing this wonderful piece! Henry

Hi @MrBelegro ! The xylophone is well chosen for nostalgia of childhood! I think you can add some melodic parts to the piano as well, and on top of that xylophone can play 4 notes at most at the same time so it can be an accompaniment as well. Some countermelodies can be added too to allow an interaction between xylophone and piano. Thx for sharing! Henry

Hi @ferrum.wav ! I like the fast section in the middle, and I do think the composing technique is up to your standard of your past works. However I don't know why but I have to agree with @Some Guy That writes Music and @MJFOBOE that the piece is a bit monotomous to me. Maybe it's about the colour thing: previously your marvellous works are all orchestral pieces so there are a lot of colour to play with, but in chamber music setting you have much less color to change and have to focus much more on the overall structure of the piece. Although one thought is that the repetitveness and monotomy of the piece represents how the daily life works. It's my subjective comment of course and nitpicky tho =.= Thx for sharing! Henry

OH MY GOD !.........................I only saw a tarot reader a couple of days ago,and this card came up.

Thank you so much once again, Henry, for your beautiful comment and for listening so attentively. Your references to Schumann and to Last Year at Marienbad — a film by Resnais that I have long wanted to see, but have not yet had the opportunity to watch — were both flattering and deeply meaningful to me. So thank you as well for pointing me in that direction. My intention was indeed to follow as closely as possible the dreamlike path of a love that never truly came to life. As so often with Laforgue, everything unfolds in an ambiguous space, made up of appearances, half-truths, and the strange feeling that the beloved may exist only as a memory, or perhaps only as a dream. The ending seemed to call quite naturally for this musical treatment: the poet evokes the lost beloved — or perhaps love itself, who knows? — while life quietly continues its indifferent course. In French, Laforgue’s language has a very particular flavour, constantly oscillating between sublime images — “the eyes are azure carnations,” “the innocent mouth,” the elusive woman whom he tries to follow — and the wonderfully prosaic final line, “I shall go home without dinner,” which suddenly brings everything back to ordinary life. As for the orchestration, I wanted something as ethereal as possible. The harp seemed inevitable, together with violin "fragile" harmonics and a constant alternation between solo strings and the full ensemble. The ternary, circular motion also seemed essential to me: it continues endlessly, because life itself never stops moving forward, while the poet remains motionless in his grief. In any case, I am very happy that both the poem and the musical response I tried to give it were able to resonate with you.

The members have voted in the poll and decided upon a theme for the next competition - "From Nothing, to Something"! This competition has no monetary awards - only kudos and badges. We are inviting the members/competitors to review and 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 thread to declare your intent to participate in this competition! The winners will be determined by popular voting polls! The duration of each piece should once again be between 3 - 7 minutes. Reviewing the entries will once again be spearheaded by the members/competitors at large. You are free to use the Official Competition Reviewing Template or you can review the entries in any way you see fit or create a template of your own making! Thank you for whatever time and effort you are able or willing to give towards reviewing the competition entries! There will be tiered "Ardent Reviewer" badges given out for this event: Featherweight Reviewer - for reviewing 33% of the entries Welterweight Reviewer - for reviewing 66% of the entries Heavyweight Reviewer - for reviewing 100% of the entries 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. The musical entries to the competition are final once submitted. This is for the sake of consistency of reviewing (so that each reviewer reviews the same piece of music without any changes). Instrumentation: As per the poll, the competitors will be tasked with writing a piece for a mixed trio/quartet/quintet of individual instruments/players/singers. Deadline: As per the poll, this competition will take 2 months, so the deadline to participate will be Thursday, September 24th, 2026. @MK_Piano's theme for the competition can be found below: What greater challenge of a composer than to take nothing and turn it into something! Your goal is to take the text from Paul Verlaine’s summer poem “Donc, ce sera par un clair jour d'été,” (So, on a bright summer day it shall be) and turn it into a piece! This poem is short, but filled with evoking images of the season of summer. It is read as a love poem, and Verlaine felt the winds and sun of summer amplified the affection he felt for his admirer. When you write, we ask that you focus on what summer brings to you as it did for Verlaine. Using this text, you must create a musical work that best captures the sensation of summer. What was nothing but words on a page, will be turned into a beautiful work of music by your hand! Attached is the poem in English: So, on a bright summer day it shall be: The great sun, my partner in joy, Shall make, amid the satin and the silk, Your dear beauty lovelier still; The sky, all blue, like a tall canopy, Shall quiver sumptuously in the long folds Above our two happy brows, grown pale With pleasure and expectancy; And when evening comes, the breeze shall be soft And play caressingly about your veils, And the peaceful stars looking down Shall smile benevolently on man and wife. The poem in French and English Entrants to the competition thus far: @MrBelegro @Fruit hunter @Ninja Nolan @Kvothe @TristanTheTristan @MK_Piano @Matthew M @GMoneywroteasong @therealAJGS @Musicman_3254 @Some Guy That writes Music 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):

well that was beautiful. I find myself most partial to the end of the piece, I found myself really desiring a longer phrase, so it was nice when one finally came. I will agree with MJFOBOE that the oboe part did get a little repetitive, but considering the subject matter, and the beauty of the ending as a result of that repetition, I would say it was acceptable. Also I think the MIDI made the staccatos a little extra piercing so I noticed it every time. Regarding the subject matter… real. It’s so hard to keep working to improve yourself and your position in the world, but remember hope is a weapon. I believe in you and your beautiful music.

Yeah I sang it in a school choir… a freakingly fascinating experience! The piece is basically about the wheel of fortune… how different things appear in life and how the fortune destroys them all without mercy, without preference, somewhat like Lao Tsu’s Tao.. Henry

This is a very lovely work which reminds of the Poulenc Oboe Sonata The piano accompaniment is very effective. The initial theme lovely; however, a bit repetitious (even with the challenging piano movement underneath). From a technical point of view - no problem for the Oboist here. https://www.youtube.com/watch?v=9hgiP3XLKQ8&list=RD9hgiP3XLKQ8&start_radio=1

Hi Alex, Very interesting harmony and movement. My only comment is the orchestration: Instead of doubling for example the Oboes why not give the second Oboe the English Horn line. Similarly, I would also move the Bass Clarinet to the one of the Bassoons. I don't really feel you need the need them in the orchestration. Mark

Hello, I also believe that no 7 is the best one. Maybe it's the first few notes...it just sort of...works for me. So maybe I like it for a different reason than Henry. This is me personally speaking as someone who is trying to get into some more modern harmonies. Perhaps no7 had a bit more "solid ground" for me to stand on harmonically. Someone recently introduced me to Schnittke...his klavierquartet. Your piece felt a bit easier to understand and listen that the Klavierquartet, lol. But yeah, I love how bare and cold it all sounds. Love the title - glass shards. What happened to no 3? =O

A fantastic little piece. The harpsichord is an instrument I really like.

Thank you for offering! I inteded this to be played on a italian harpsichord, and yeah i know about the manuals and stops, i'm a harpsichordist myself. It would be lovely if you could play it, because the harpsichord i play on i have access to it only once a week.

You’re welcome! Depending on the notation software you are using, there should be ways to get rid of excess measures or bound measures to a system. I had to spend some time on my own with my software just reading the handbook or shortcuts for this stuff lol

Hello M.K Piano, Thank you very much for the constructive feedback. I have tried to correct the score accordingly. Unfortunately, I was unable to successfully shorten the final bar. I must admit that some of these errors arise repeatedly because of the formatting, such as the incorrect ties on the pedal point. Thanks again. Fantasia with a change of mood new version.pdf

well less than a month later, i finally had the chance to comment on the piece more it definitely sounds operatic. i could definitely see this being like one of the first numbers of an opera. i could also imagine the orchestral sounds coming from the piano. the piece fits the text well. i like the subtle harmonic changes when the text sings the notice of a change, it feels like the desire to comprehend the changes around them. its gradual as well, from a month, two months, four months, as it leads to a climax. i like that the question at the end is cleverly treated as a punctuation, both in the music and in the text, before the final cadence. i like the sketch as well, its definitely virtuosic but i like the effective use of the piano figure as it travels to different harmonic context. the little introduction before the main stuff is also a good contrast to accentuate the preceding section. thanks for using my less than desirable poems lmao, and writing a little sketch dedicated to me!!

@MK_Piano Appreciate the feedback and the time! Definitely agree with the more active recap. I am still struggling with writing longer lines that I feel would give me a lot more space for expansion compared to my short cell approach. Funny enough, you mentioned the sight reading confusion with the key change. I try to be very mindful when I write to make everything very readable and in my head I thought the key change might help to understand where the structure is, but I totally see your point that for sections this small, it will just create more unnecessary information that might be a distraction. This is super helpful information because I want to create a compilation of sight-reading material for beginners progressing to an intermediate level. @Luis Hernández Appreciate the feedback and the time! Articulation sometimes is a struggle for me, definitely should be more firm with it.

Hello MK_Piano, Thank you for your response. I agree that there are a lot of musical ideas throughout the movement. The introduction, for example, is a continuous flow of ideas that eventually leads to the slow march-like melody. I believe the A theme returns effectively in the recapitulation. As for the B theme, I reused some motives from its first appearance, so it is perhaps less obvious that the fast E-major section represents the B theme. I must apologize for the improper use of the tempo markings in the score. Those were mainly intended to improve the MIDI playback and would certainly be revised before a live performance. I really appreciate your feedback, and I will definitely work on these points. Thank you!

Hello! On first glance at the score, no, it is not suitable for piano performance. Mainly caused by the page layout and measure size. Below, I have attached some annotations for you and a separate PDF of what is normal to see for a pianist. (Girl with a Flaxen Hair by C. Debussy) Photo.pdf Tristan - Revised Fantasie [ANNOTATED].pdf

Hello, what a lovely little work! Did you intend for this to be played on the specific type of harpsichord (French or Italian)? Depending on the builder, you can have two manuals and most come with a lute stop. I have two I can access at my university and can try it out sometime within the next two weeks. :)

Thank you so much, my dear Henry ! Your comment truly means a lot to me, especially coming from someone with so great music perception and skill of composing. I'm especially happy that you noticed the Scarlatti influence. His sonatas have been one of my greatest sources of inspiration ever since I began composing, and the Binary Sonatas are my own humble tribute to his extraordinary musical world. These sonatas also hold a very special place in my heart. They are my musical diary, reflecting my thoughts, emotions, and experiences over the past few years, which makes your appreciation even more meaningful to me. Of course, my goal has never been to imitate Scarlatti, but rather to let his spirit inspire me while gradually finding my own musical voice. Your observations about the echo effects, the sudden modulations, the dialogue between the hands, and the changes of mood made me smile because those are exactly the elements I enjoy exploring the most. Thank you once again for your wonderful words and for your continued support over all this time. It truly means a great deal to me, and I hope you'll continue to enjoy the musical journey ahead.

Ah ah ! Chers collègues compositeurs, que ce message serve de déclaration officielle de ma participation. Je suis ravi que mon thème ait été retenu comme gagnant. Je suis sûr que vous allez tous adorer ce poème français et j'ai hâte de découvrir la musique que vous allez composer ! TL,DR: I’m in boss 🫡

Hi @Rafael Avila ! First off, I don't know if it is customary to use a transposed score for serial works. Perhaps due to the dissonant textures and lack of key center it is preferrable to a transposed score? I personally prefer transposed scores because then you see exactly what the player sees and the logic of the enharmonics is different and customized. Btw, would you provide an mp3 of the piece as well? I've noticed from the score that some parts of it might even be perceived as tonal. Now to picking at the enharmonics. In measure 3 you have the flute playing this: Since you have a leap here of a major 7th I would spell the notes in this measure as C#, B#, A#, Fx. And since the part continues in the next measure to D# and B it makes more sense (to me) to continue using sharps here. You might think that since the harmony underneath that is basically D minor, that using your spellings would be more logical in that context. That could be true, and I wouldn't blame you for keeping it the way you have it now. But it also depends on how devoid of key the piece actually is. Is this just a short moment of quasi-tonality in the midst of atonal surroundings? Or do various key centers actually play a part in the piece and how it will be perceived by the listener? On a cursory glance at just the beginning of the score it doesn't seem particular dissonant or atonal and uses lots of consonances and octave doublings. Like I said, I am no 12-tone serial connoisseur but this seems like a no-no for a serial work. Basically - if the piece is tonal here and there, adhere to tonal voice-leading rules in those situations. But if the piece is more devoid of a tonal center then spell the pitches as logically as possible within each individual voice regardless of what the other voices are doing in a sense. That's how I would do it. Thanks for sharing and I'd be stoked to hear this piece!

Hi to all. Have just made this orchestration of my own recently composed piano work. The score is designed for midi rendition only: so I haven't tidied it for real musicians. Think the piece actually works better as an orchestral work, but I'd be very interested to hear your opinions of my orchestration choices. I think some of them could be improved. Chills (orchestral version) #13.mp3 Chills (orchestral version) #15.pdf

My reason for using the English horn, is that oboes can sound quite harsh and intrusive in their low range. A bit like a duck! So I thought an English horn would have a more pleasant timbre in that range. Alex this really is a misunderstanding of how an Oboe works! Let's throw out the meme about DUCKS! The lower range/register can be as beautiful as the upper range. (just ask Dvorak). The English horn in this orchestration will not add too much. It does not have the penetration ... it is better used a solo instrument or in a small ensemble. Please no more duck jokes! Mark

Many thanks for listening Mark. The doubled oboes actually just come from my standard orchestral template. I was too lazy to correct the staff label! So I only envisage a single oboe playing most of the time. My reason for using the English horn, is that oboes can sound quite harsh and intrusive in their low range. A bit like a duck! So I thought an English horn would have a more pleasant timbre in that range. You're probably right about the bass clarinet. I just thought it might blend better with the regular clarinets.

I entered an international competition in Italy. How do you think this piece would be perceived in the Italian vocal music composition competition scene? Is there anyone familiar with how works like this are evaluated in Italy? It has never been premiered with live instruments, never been published, and has never won any awards. This is my first time participating in a major competition, so I'm not really sure how it all works.

You can use this thread as a feed of your progress. Then, when the piece is definitely finished and finalized you can either start a new topic or add the finished version to your first post by editing it. 👍

That's a separate technique. The xylophonist I wrote this for can only really play two mallet style. Four mallet is more common for vibraphone. As for the piano countermelodies or solos -- nothing is set in stone as for this composition, so I will add a few of those shortly. Thanks for your feedback and advice!

Hi @L.S Barros ! I enjoy this piece! Will you add a Pavan before it too? Henry

Hi everyone! I took a break from composing for a while. Recently, I started composing again, and I would like to present my latest composition, an Impromptu, written between May and July 2026. Writing this piece proved challenging – choosing the right material was an endeavor, and most of the effort was spent on completing the coda section. Anyway, I hope you enjoy it, and I would love to hear your thoughts! Carl Koh Wei Hao

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I intend to participate.

Ello! This was as a small test i did with the vocal synthesizer i use to see if i could use other soundfonts with it, and it turned out pretty nice, i like this aria very much even though it has it's flaws. I hope you guys enjoy! LOB 104 Dolce Cioccolata.mp3

I want to join!

I love the suggestions. I also didn't notice that I'd had them playing where only the instrument above the secondary was playing melody. Just sort of happened that way I suppose. Regarding piano, I would've liked to do something more for the 41-48 section for it, but for the sake of maintaining simplicity, I thought against it, as I quite liked piano playing the role of rhythmic and harmonic support throughout this score. And it seems great minds think alike ;) Thank you for reviewing! -Unc

Hi @Vasilis Michael ! This one is wonderful! Recently I finally get more in touch with Scarlatti and your piece shows heavy influence of his Sonatas: echoing of passages, abrupt and wonderful modulations, all the m.d. and m.g., dexterity and touch required to play, abrupt changes of style or mood. Yours is no less wonderful than Scarlatti's Sonatas I can definitely say. Thx for sharing! Henry