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Attached is my submission to the "From Nothing, to Something" Summer 2026 Composition Competition Submission. I decided to set Verlaine's original French poem for two vocalists (solo soprano and solo tenor). To fit the French vibes, I rounded out the ensemble with a trio of flute, viola, and harp. The French sound I continued into parts of the harmony, opening with chords mostly made out of whole tone scales. As for form, the tenor takes the firs stanza, the soprano second with a mixed around order of phrases, and then they sing primarily together for the final stanza. I was composing this with professional players in mind, so the parts are of a higher difficulty level. Program Note: This setting, originally created for the Young Composers Forum "From Nothing, to Something" Summer 2026 Composition Competition, casts a different light on Paul Verlaine’s summer love poem, Donc, ce sera par un clair jour d'été. With the challenge being to capture the sensation of summer, I hoped to focus in on liminal moments throughout the season. The two vocalists, being the depicted couple in Verlaine's poem, first sing individually to each other, telling of the fleeting beauty and pleasure found in a summer love. Finally the two join together in harmony, as the stars look down gently on husband and wife. Devor - Donc, ce sera par un clair jour d'été_FINAL.mp3 Devor - Donc, ce sera par un clair jour d'été_FINAL.pdf

@Lithl Thanks for your feedback. The kids and family are doing well these days. I am a lucky man. I hope that you and your family is doing well too :) I will tell my kids that a kind internet stranger wishes them well. They are still young now, under 6 years old. I wonder how they will see these music I wrote for them as they getolder. Would they feel embarrassed by it? Feel flattered? Want to write their own music? I guess I will report back in 10 years or so :)

Great work nothing to really criticize just some curiosities though since you definitely milk the hell out of almost every instrument in that piece with experimental extended techniques, I’m a strings player so I understand more information about the viola stuff and some information about the flute stuff. I’ll definitely be studying the harmonics and how flute harmonics work. (wood wind harmonics are a big part of my next upcoming composition for large Orchestra. “morse”). Anyways, the textures are amazing in the harmony, though is dissonant works extremely well with that dreamy quality of the whole tone scale. Time for interrogation in my assumptions again, this is more about curiosity as that these techniques are not thoroughly explained either in the actual score or in performance notes Xyl. -harp- i’m assuming this is a xylophone sounding technique though I don’t know how exactly is it to be reproduced I’m assuming that you kind of just strike the fingers against the strings bamboo tone flute- this is pretty self-explanatory as in the idea that they’re trying to achieve a sound similar to a bamboo flute, but how could it be reproduced? how is a jet whistle produced I’m assuming that you make a jet of air near the opening mouthpiece of the flute, but harsh enough not to make an actual sound for the flute harmonics there’s two ways I could feel about them that first they are usually used as a method to extend the range so they are played as a normal actual technique used in producing a “normal” sound , are the flute harmonic similar to artificial harmonics on string instruments? Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9.5 9.7 8.85 7.76 9.93 9.3 9.4 9.6 average 9.26. I also have watched part of your live stream about the composition process so that was nice only though five minutes of some parts. I don’t know if you explained the techniques there so I may have to look back. Anyways, other than the lower score for originality due to the convergent factor of all the pieces of this competition almost having the same aesthetic it was a very nice piece and it was amazing. Great job and I hope you join more competitions in the future.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 10 7.5 8.5 7.5 8.5 8 10 Avg: 8.5 This is one of those pieces where you have to listen to it a few times to understand it. But once you do, it's very rewarding. The improvised intro is a nice touch, what a dramatic opening! It sounds like your subject is trying to come to form in this section, but it's not quite there yet. Then you form it in the middle sections (the intro to your fugue) and that's when this piece starts to really shine. Anyone who has a hard time with fugues, must learn to train their ear on the main subject, and listen for that subject in the fugue. Once you do that, you realize how awesome and clever this piece is. Also, another strong point is that your harmony is very well done! Does it remind me of summer afternoon / evening? I'm not sure, maybe the end of summer or a rainy summer afternoon since this quite melancholic!

Here is the rest of the Kids Songs. I've already uploaded Kid's Perfect/Kids Born/Kids Born Encore. They are technically meant to be listened in order, but each piece has it's own individual idea: I made a playlist on youtube, in case it's easier to just listen that way. 14 pieces. About 30 minutes total music: https://www.youtube.com/playlist?list=PLZW0Jz5b3gzU Full links below, I'll give a brief intro for each piece here: 4) Kids Learning: I had some fun with some cool key changes. A pretty straightforward piece of music. 5) Kids Talking: My boy had this really sweet, musical way of talking. So I tried to capture his voice into the music directly. Sort of a jazzier type of sound, but not really jazz. 6) Kids Jumping: I was reading up on the 12 tone method when I was writing this one. The song probably is still a very tonal piece of music, but I tried to experiment with the idea of having all 12 notes represented in the musical ideas. I also play the piano in a way that I consider somewhat unique to my style. I don't think I've heard of any other major musician play the piano in this style...so if someone else has done it before me, please let me know! 7) Kids Fighting: A fun piece where I am writing the song from the perspective of a very tired parent dealing with two kids fighting. The four note theme you might notice in the beginning is literally me calling "Ar-thur, Mar-lon!" 8) Kids Scared: I wrote this on Halloween. I sort of channeled my inner Ligeti for parts of it maybe. I also sample one of the greatest composers who has ever lived, hopefully in a way that is unique and somewhat memorable. The ending gets a bit loud. The whole song is delightfully weird and fun to play from my perspective. 9) Kids Hurting: This one is a bit more dark. It is based on a real experience I had with my children...being hurt and going to the hospital (He is 100% okay now, this happened 2 years ago). 10) Kids Crying: This one is heavily influenced by Schumann carnival! 11) Kids Sorry: This one is the sequel to Kids Crying, a bit more contemporary, but also influenced heavily by Schumann Carnival. 12) Kids Splashing: I am messing around with harmonic ideas. It is a pain in the butt to notate. If anyone is a pro at notating and wouldn't mind taking a look...that would be greatly appreciated. 13) Kids Sleeping: I try my hand at writing impressionistic music. It is dedicated to my composition teacher of the last year, Marcel Bergmann. 14) Kids Growing: This is the finale. While my boys are still young, this is me saying goodbye to the little infants/toddlers and saying hello to the slightly more sophisticated young boys who eat a lot more food and who I look forward to growing with together. Hope you enjoy. Any feedback...positive or negative is appreciated. Once again, if anyone can help with the notation for kids splashing, that would be greatly appreciated! 4) Kids Learning 5) Kids Talking 6) Kids Jumping 7) Kids Fighting 8) Kids Scared 9) Kids Hurting 10) Kids Crying 11) Kids Sorry 12) Kids Splashing 13) Kids Sleeping 14) Kids Growing

Vote for the winners of the "From Nothing, to Something" Summer 2026 Competition! Check out the explanations of the awards below: 1st Place - your vote will bestow 3 points to the respective piece. 2nd Place - your vote will bestow 2 points to the respective piece.3rd Place - your vote will bestow 1 point to the respective piece.The points will be added up for each piece and the piece with the highest number of points will receive 1st Place! 2nd highest number of points - 2nd Place and 3rd highest number of points - 3rd Place. The Alchemist Award - this is the Participation Award and will be awarded to all composers who submitted music to the competition!The Spirit of Verlaine Award - for the piece that best captures the spirit of Verlaine's poem with the most imaginative transformation of the text into music.The Poème d'Amour Award - for the piece which best captures the sensation of love.The Évocation Award - for the piece which best captures the sensation of summer. Remember that the poll is only open until Thursday, October 1st. So you will have a week after the competition is closed to new musical submissions to review and vote for the winners! For reviewing 9 out of 9 submissions (100%), you will receive a "Heavyweight Reviewer" badge!For reviewing 6 out of 9 submissions (66%), you will receive a "Welterweight Reviewer" badge!For reviewing 3 out of 9 submissions (33%), you will receive a "Featherweight Reviewer" badge! Please note that there are 2 entries with an identical title "Donc, ce sera par un clair jour d'été", one by @latebeethoven_addict and the other by @JDevorMusic . To listen to all the submissions go here: For the competition announcement go here:

No you are absolutely correct. Of course, you wouldn't review your own music but it will still be counted towards your total works reviewed.

Even if I run the risk of being a little too petty, there are overall 9 submissions and I think nobody is supposed to review its own piece, the "Heavyweight Reviewer" badge would also be awarded to one that has participated with an own submission, if he has only reviewed the 8 other submissions ... 😀

Hello, Sounds great. Wow, so many scales. I sometimes wish that modern music used scales more often. I guess the old school 80's metalhead shredders used a lot of scales in guitar music...but it seems much less "cool" these days to use scales. You make the scales so nice and interesting. Is that actually you playing? I can't really tell these days, due to the amazing technology out there. If this is you playing, the technique/dynamics and "feel" is incredible. Around 2:58, when it slows down, it would have been nice to hear more slowness. But then again, that's more of a matter of personal taste. I think the overall piece works. Very nice, Bravo!

Hello @JDevorMusic, thank you for sharing such an incredible piece of music, and by the way – a hearty welcome at the forum. Interestingly, the very first submission to the competition, and the last one – so far – have the same instrumentation, a flute, a viola and a harp (while you’ve added two vocals). Melodies Themes Motives and Harmony Chords Textures: There is a memorable motif that recurs throughout the piece and is first introduced by the flute in measures 4–5. The sung poem features relatively long note values or coloraturas for the faster notes, so that the vocal parts are somewhat reminiscent of Renaissance singing. The accompaniment contrasts that with its – one the one hand „percussive“ arpeggiated chords – and, in other passages with energetic ostinatos (on the harp or viola), so that the piece unfolds a varied texture. As a piece in „contemporary style“, or to be said „atonal“, it is difficult to speak about „harmonies“ in the traditional sense. However, there are some chords which could be perceived as „pentatonic“. Form Development Structure Time: The piece has no „traditional“ form (such as sonata or rondo form), but is clearly structured due to the realization of the poem as a modern „aria“ (or better duet), with passages of increasing tension and „rests“, calming down between the stanzas. And finally, you were thoroughly enough to meet the requirements of the competition by finishing the piece exactly at the 7:00 minute limit. Originality Creativity: This piece is absolutely unique among all the submissions, obviously for its atonality, but also because of its detailed and meticulous craftsmanship. Score Presentation: The score presentation is absolute professional, starting with the title page, preface (including instrumentation, program notes etc.) and is full of information. So I didn’t look around to find some nitpicks but was rather impressed by the vast majority of details, including markups on articulation, playing instructions, harp pedals, breakdown of compound meter signatures etc. Instrumentation Orchestration Playability: The instrumentation works well, the three instruments from different families blend together and complement each other in their timbre, as well with the vocals. As for playability, you yourself mentioned the the difficult level, which would be suitable for professionals only. And I'm sure you've checked all the passages for “unplayable” notes or chords. Execution of Given Challenge: Your piece represents a very thorough realization of the task of the contest: To take Paul Verlaine’s poem and create „Something“ in music. The question remains, whether the dissonant character of this contemporary piece will evoke associations with summer, beauty, and love in the majority of listeners. Taste: That might be the problematic part. For me, it's a fascinating piece when I can really focus on it (maybe during a live performance). But I don't think it works as well if you're just listening to it in the background. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9 9 9 10 10 8 7.5 5.5 Average Score: 8.5

Hello @Musicman_3254 ! The piece has (at the beginning) a very calming character and is somewhat reminiscent of a fairy tale movie (especially one you’d watch in winter during the Christmas season) or—once the vocals come in— of @PeterthePapercomPoser’s Christmas mashup from last year. 😂 Just when one is (almost) fallen asleep (around 03:11, measure 102), you’re instantly jolted awake by the staccatos of the harp and cello, as well as the blood-curdling trill of the flute, which sounds like a piercing birdcall—perhaps that of a cockatiel. Melodies Themes Motives and Harmony Chords Textures: The piece is based on a memorable melody, reminiscent of a lullaby, which recurs repeatedly in the treble instruments (i.e., flute and oboe d’amore) as well as in the baritone voice. This contrasts with accompanying textures, chords, and arpeggios, which are played largely by the harp. While the song maintains a diatonic harmony throughout all three verses, the coda appears to be somewhat different, with a pentatonic impression. Form Development Structure Time: The form of the piece could be that of a song with three verses and a coda. As mentioned above, the verses unfold in a pleasant and calming manner, with the accompaniment employing various textures without losing that character, only to be turned into the exact opposite in the coda. Originality Creativity: The originality of the piece arises on the one hand from the contrast of the calming song and the surprising end, as well as from the instrumentation, combining two melody instruments, a human voice and two more or less accompanying and percussive instruments together. Score Presentation: The notation for the vocal part—that is, the baritone staff—is somewhat inconsistent regarding the use of slurs and beams: In vocal score notation it is important to distinguish whether a single syllable is represented by a single note or whether multiple notes are sung for a single syllable (i.e., a melisma). There are two possibilities: In older, classical scores eighths and sixteenth notes are notated with flags (not beamed) for a single syllable, but if there are multiple notes to be sung for a single syllable, those notes are beamed together. No slurs at all (except for quarter or longer notes). In contemporary music, beams are used to show the rhythmic pattern, regardless of the text. However, in that case slurs indicate whenever multiple notes should be sung for a single syllable (and nowhere else). For example, there should be no slurs in measures 18–19, since each note has its own syllable, whereas the slur in measures 62–64a is correct, since all the notes are sung on a single syllable. As for clefs, I believe that a vocal score for baritone uses the standard bass clef, and the cello in its middle/high register uses the tenor clef (and neither uses the alto clef). One more minor point: You forgot to remove rests from some measures on the high staff of the harp (for example, in measures 32–42). Instrumentation Orchestration Playability: The choice of the instruments is effectively used to achieve the mood and effect of the piece. However, there are a number of concerns on the playability – as already mentioned by other reviewers, especially in the harp part. Execution of Given Challenge: You have set the poem to music and, therefore, created a relation to the given challenge. However, my personal—and therefore subjective—impressions evoke associations with winter rather than summer, though I could be completely wrong—perhaps I’m being influenced by today’s cold weather at the start of fall. Taste: I like this piece because of the humorous contrast between calm and scare. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9 9 7 8.5 6 5.5 7.5 7.5 Average Score: 7.5

Just a little something for orchestra with a nice percussion section. Sequence I-VI.mp3 Sequence I-VI - Score.pdf

Hello, a fantastic piece. Some really great combinations of timbres – a few of them really caught me out. For example, glockenspiel + trumpet + strings in Sequence II. It would be helpful if you could indicate at the start how many of each instrument there are (Flute 1, 2… etc.). When an instrument from a group of two or three plays solo, you need to specify which one it is (Bassoon 1, for example, at the start of Sequence III), not just ‘solo’ (because then you don’t know which one it is). A comment (which isn’t mine but comes from classical orchestrators): when you have a melody in octaves, don’t use the same instrument for both (flutes in Sequence III, bar 70) because one will clearly dominate. In this case, the upper one, as the flute in the lower octave is in a much weaker register. In this instance, it is better to double the upper flute with another instrument that has the same range in the lower octave (a clarinet here, for example). When we’re talking about MELODY (not harmonic chords), as a general rule: double at the octave with different instruments; melody in thirds or fifths with the same instrument; melody in sixths with different instruments… There will always be justified exceptions. In this respect, the two clarinettists from bar 80 onwards are fantastic. Sorry, these are just suggestions based on what I’ve learnt about orchestration. I always respect what everyone else does. But if you try what I’m suggesting, it might sound better to you. The climax towards the end is brilliant. And one more thing: I don’t know if you’re concerned about practical, real-world issues. Sometimes I get the impression that you need a lot of percussionists, given the number of instruments playing at the same time. Although I’m sure you’ve got this sorted. Best regards.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8.5 5 9.5 8.5 9 9.5 9.5 8 Avg: 8.43 Very nice relaxing theme, which was clear throughout the piece. Your form / structure was easy to follow, and this made the listening experience very enjoyable. I think you nailed the challenge with the mood. Aside from feeling serenity and peace, it reminds me of a night summer afternoon with a cool breeze. Your audio is great, and your usage of dynamics really bring out your music! Overall it's a very beautiful piece, short enough where the harmony isn't too much of an issue, but any longer, we'd need some changes in key in my opinion. This is why I marked you down with harmony. When harmony doesn't really change key, the music risks starting to sound like a hymn.

Down to the wire, but I just finished and uploaded my submission!

Hello, I tried playing with the sheet music and I'm not sure if your recording is the same as the sheets. It definitely deviates after the repeat. Personally, I find measure 13-16 too repetitive. I think I get what you are going for, with the building of the tension, but it just doesn't good (to me). My ears want to have some variation. Also I think the notation does not match what the mp3 is playing here. I like the mp3 better than the notation. It gets really weird at 0:59 in the recording. I guess it all depends on the direction you want to take the piece in. Whenever I get stuck, I try things like: 1) Doing the same thing in a minor key 2) throwing in a key change 3) reversing the theme, so it sounds completely different 4) depending on the piece, I sometimes like to take tidbits from the theme and make a new theme. For one of my pieces which had a passage that was 8 bars long, I just took the first note of each passage, which created a new musical idea consisting of 8 notes. So that was fun and worked well. 5) Give the left hand something interesting to do, perhaps move the theme there, or change the accompaniment. I always try to understand my music. Maybe this sounds kinda weird, since I'm also writing it... but I don't assume that I understand the music that I am writing. I figure that if I truly understand my music then I can understand where the music will naturally go. I realize that this advice is not very tangible but this is the most honest answer for what I do when I feel stuck. I'm sure some of the more classically inclined musicians in this forums can give you some other ideas...the possibilities are literally endless. Hope you find some inspiration.

Finished it! https://www.youngcomposers.com/t50554/donc-ce-sera-par-un-clair-jour-d%C3%A9t%C3%A9/

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 8 10 7.5 8.5 9 7 8.5 Avg: 8.56 Nice romantic harmony paired with a gorgeous theme makes this a very clear and easy to follow piece. Variations of your themes are also very cool, and your key changing keeps this piece from feeling too repetitive. I definitely hear your Tchaikovsky influence, but around 3:30 I actually think I hear some Mendelssohn influence as well, maybe you didn't even realize it. Be careful though with balancing the piano parts of your melody, they were definitely too weak in velocity especially compared to your strings. But that's just an audio issue. As far as the execution of the challenge, this one is tough for me because it does remind me of romance between a man and a woman (or some type of heartbreak), but the story you are portraying here is so romantic-heavy, I forget about the summer part. But that might just me! Despite that, this is a beautiful and heartfelt piece.

Thanks for the reminder. Everyone who hasn't already submitted music has been messaged about the encroaching deadline. We're still expecting at least 2 more submissions for a potential total of 9.

Hello A few weeks ago, I was discussing the characteristic features of the 20th-century neoclassical style. I wrote a short minuet incorporating these features. A playful style, based on the 18th-century minuet dance, with broken accents, clean lines, bitonality, unexpected modulations... MINUETO_luis.mp3 MINUETO_luis.pdf

it’s a good piece, but I have some suggestions about logistics and playability and all that stuff Octaves with harps I’m not a harpest. I’m pretty sure you may have to watch out if you’re going to be playing octave runs on one hand. Well, I have done with my competition piece. “ on pastel skies” that I have written for mallets with octave runs that are split in between hands as double verticals. So one hand would play the center note in the octave above in the left hand would play the center note in the octave below. just some stuff to watch out for. Also for cello’s and I don’t think so, but possibly for baritone as well you should use tenor clef rather than alto clef and also, I saw what you did with the implementation of the oboe d amore anyways, another thing I would point out is near the end with the pentatonic sounding thing was a little too loud. Honestly, this was good writing. You just chose the wrong dynamic. It would fit better more smooth at a forte or something a little lower melody 8.7 Harmony 6.8 Form and structure 7 Creativity 4.78 Engraving 6.5 Orchestration and playability 6 execution 8 Taste 7.5 average is 6.91 The reason why your creativity originality score is tanked is due to similar title with other scores in this competition and also simply putting the name of the competition as a title However, though you must acknowledge that your execution score, unless if some miraculous magic happened, would also get tanked if you tried thinking outside of the box so it’s kind of a sacrifice unless if you know what you absolutely are doing.

As a pianist, those chords also impossible to play. Not even Rachmoninov would have wrote chords in that fashion! I think you need to carefully look at scores that use the harp, @Musicman_3254. Adler provided some scores to look at (and I included others) CPE Harp Sonata Caplet's Deux Divertissements Debussy's Sonata for harp, flute, and viola Belioz's "Rob Roy" The planets by Gustav Holst Pines of Rome by Ottorino Respighi

Although Cantai works with Musescore, the lyrics I used are in French and Cantai only works with English and Latin lyrics

Entry: "Your Daer Beauty lovelier" Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 6 7 7 10 4 2 9.5 6 total51.5/80 Average Score:6.4 Review: Melodic material: Cello line, which carries the melody, is even balanced. It introduces the main theme of the piece that is sung in baritone voice. However, we can't hear baritone signing the melody for the other instruments are overshadowing it. It would nice if instruments would drop out when the male voice is signing. Or giving a lighter texture. or only have one or two playing. This is paramount when writing for voice and orchestra. Score prep, instrumentation, playability. : There are several issues with the score. The hairpins are not readable with in the harp part; the bliss is not connected; solo indicators when you only instrument per player. Solo is used in strings where there is more than one player per part, and the composers wants only player to play. Holst did this in Venus. When he wanted to signal a solo player in the string section, he marked "solo". For the areas, where the solo is marked, it is preferred not to have the other instruments playing. This is applicable for oboe part, too. The held note in the reeds is not ideal. When you are writing for wood instruments, you have to remember, that need to breathe. Because there is no phrase markings in the cello part, the bowing will change on every note. I feel you can add more depth here. The triple stop at the end is incredible hard to play. You have wrote out the range of the Oboe'd natural range. In fact, that instrument is no longer in use. It is not in balance with the rest of the ensemble. The harp writing is unrealistic and lacks proper study. This score needs a serious revision on this front! Execution: Yes, this piece has met the core requirements for this competition. However, the overall mood just seems off. Creativity: this is indeed and creative and orginal piece. Form and time: It was difficult to what the proper formal structure of the composition was, and the timing was slow. Harmony and textures; Overall, the piece is mainly diatonic. There are moments of other modes with in the piece. The piece has colorful textures. Side note: Cantai can be used with Musescore.

Hey guys! So over the weekend I composed the first movement of my composition “Philly”. This first movement takes place is the serene and turbid wold of north western Philadelphia. I remember as a young child living there and walking in the cloud scaped hills, as well as getting lots of donuts and pickles during the weekend. I hope you’ll look into my composition and give me feedback. I’ve already submitted it to a few ensembles which I doubt will perform it but eventually I’d love to get it performed by an ensemble in Philadelphia. Take a listen and a look! Audio: https://drive.google.com/file/d/15NoNQ7O-ghsDeWHVtaEqCI8skRZ8HZYA/view?usp=drivesdk Score: https://drive.google.com/file/d/1ri86LSqV7lzbPePIhvZUfSWYBEHnRsw6/view?usp=drivesdk

Thank you very much, MK Piano, for the lovely annotated document! Not only has this information been crucial to Philly but I was able to make meaningful changes to a piece I will have performed at Temple University for wind ensemble. Your mouth is very well rounded. Also, I greatly appreciate the harp demonstration video. Thank you for all your dedication and thought. I am always changing and hopefully improving.

MK-Piano .... Thanks for the annotated review .... ! This is a lovely post-romantic work ..... e.g, Howard Hanson. Mark

Hey @nathanstravinsky! I just finished my annotations and I am here to share! The attached PDF are my comments on your work. You will find a written out summary at the end. To add, I am attaching this 5-minute long YouTube video covering the Harp. I felt it important to make a dedicated video as some moments for the harp in your work were not practical for the instrument. For anyone else viewing this comment, it is a basic introduction to the harp for composers. Find both resources here: https://youtu.be/_Stiy-uh12k?si=luX9YTfy-8DASSxx N. Janco - Philly (ANNOTATED).pdf

Hi there Nathan! Welcome to the forum, I do have some comments for you on this work. However, I prefer to keep it simple and annotate the score itself versus trying to type it all out in a single and concise comment. Lovely work so far and It'll interesting to see the other movements.

Ps if any one you play an instrument in this composition or any string (viola, violin, cello, bass) and would be open to recording even an excerpt of this it would mean a lot.