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Hey there, Wieland Your music has a lot of qualities I'm envious of, like your knowledge and inspiration from baroque music, engraving technique, clever counterpoint, FUGUE writing, etc. You're very different from me, and I love that I can explore your music to help prop up my weaknesses. I'm a guitarist, and I've probably listened to this about 10 times by now (literally :D). I won't go into detail like @Omicronrg9 did about the accordion with your guitar part, mainly because you didn't really give me much to go off of. You have three polyphonic instruments, yet you took special care to notate fingering and button markings or whatever for piano and accordion, but the guitarist is left trying to figure out hand positions and fingerings. Why? Is it because you're unfamiliar with the instrument? If so, so be it, that's okay, that can be learned. But not one slur?? Only a few chords? Our chords RING, you should use them more. I felt like you treated the guitar like a violin. Sorry, I just found it offensive when going through your piece. Again, it's okay if you're unfamiliar, but I think the piece would have been better off with another instrument substituting the guitar (especially with the care given to the accordion, which I assume you haven't written a lot for as well?) Don't get me wrong, the guitar part is all playable, but the excessive dynamics and lack of articulation when compared to the other instruments just had me hyper fixated with that. Sure, the dynamic markings are probably for the playback, but I would have made a lot of those marks invisible for the score (if your program allows it, ofc). All in all, this music is good, you have talent as a composer, but the guitar part in particular just rubbed me the wrong way playing through the piece. Sorry if I come off harsh 😰, but I'd rather let you know faults in part writing then just showering you with praise, because I like you. I like what you have to offer the world with music, and I like what you do for our community here at YC. You're a gem, my friend. Keep composing!!

Whether you win or lose the competition, saying this means you actually won something much better. You know, I've read through everyone's comments, and a lot of what others have said about wind breathing, harp writing, orchestration, etc. all holds true. Take note of it; it's free advice that if applied will help you improve. BUT Your style, your voice, your raw talent that you're hopefully always going to keep working on was really fun and a treat to listen to. Your music is emotional and definitely applicable to the poem. I really really love how you treated the vocals (cool to incorporate vocals btw!). There were large gaps between the phrases, and I think that lead to a balanced feel of it all. You gave solos to the different instruments, letting them all sing on their own and together when necessary. Even though I think the winds could have been fleshed out more and the harp used more effectively, the point is you TRIED and branched out from your comfort zone to compose this piece. You hopefully learned a lot, and with the feedback you've gotten you're more equipped with technique for future pieces. This was definitely one of my favorites so far for the reasons stated. Well done sir, you should be very proud of this piece :)

Behind Bars: A double bar line preceeds the new key only if the key belongs to new section.

Thank you so much guys - you're all really kind! @Musicman_3254, I haven't listened to Gershwin a lot, so I'll have to check him out. Since I'm a big fan of jazz-style music, his music sounds so nice! @PeterthePapercomPoser, honestly, I didn't expect such music would be suggested (of course in a positive way)! I didn't know about them, like Takashi and Masayoshi; it sounds like fusion or something like that. I'll dig into them more in the future. @Thatguy v2.0, I had no idea Radiohead's Jonny Greenwood composes concerto works. If you don't mind, could you give me some examples? It's probably gonna be awesome - in fact, Radiohead is crazy! Also, for Xenakis, that specific piece wasn't familiar. Thank you again, guys! I really appreciate it :) Well, if the pieces sound really interesting, any type of avant-garde music is welcome. But if I were to be particular, I want to hear a combination of chamber and electronic music, or electronic avant-garde music. (I'm a big fan of electronic music - familiar with Kraftwerk, and generally speaking, IDM, etc.) I don't have many musical friends in person, and this means I have to search on my own - there are probably some gaps that I missed, even if they are famous. I'm looking for shocking, amazing composers/pieces. Best, Lithl.

Thank you so much @Omicronrg9 for listening and for your feedback! It always surprises me how we can all pick up unique and special vibes from the same piece of music. To me this music has always reminded me of a difficult time and of struggle, but then to someone else it comes off as smooth and peaceful. And both can be true. The poem is very peaceful, but it also longs for a time when the sun was shining. This is something so glorious about music: we can listen to the same notes, but all of us hear different things in it, feel different feelings, experience our own private epiphanies. It brings me so much joy to know that you enjoyed the music. Yes Edward is a super talented pianist, well beyond my skill, and he enjoys playing new music. What a gift for someone like me, who prefers to compose rather than perform. I really appreciated hearing your perspective. Thank you for taking the time to share! Cheers! Jonathan

Any type of style you're interested in? Jonny Greenwood from Radiohead is awesome, he's written concert works too. Stockhausen, Messiaen, Ligeti, Xenakis all come to mind. Here's a weird one for ya :D

Hey Wieland, no rush at all! I didn't rush the post either, in fact it took me longer than I planned 😀. Again, good luck!

hm.pdffinally got a bit of a break, composed what's probably my worst piece to date but I find it neat in some ways this was ment to be cute.mp3I am aware a decent bit of laws has been broken when making this piece, and that it's quite near impossible in a few aspects, thank you.

You’re right @Omicronrg9 , my Chopin example wasn’t very clear! His contrasting sections are shorter than yours. It was mainly the amount of contrast between sections that I was trying to explain. But you nailed it: length isn’t the issue if the material is adequate. Your material is definitely adequate. You’re right that all of this is overthinking. The music is already great as is!

Hi @Seni-G , many thanks for your comment to begin with! I was replying you on mobile phone but it switched to PC, it was being a pain. So: It would definitely be cool, but not sure if the performer would agree 😅, it's not my most technically demanding piece but I don't really think it would be an easy one to deliver. I get what you mean. I didn't see it that way, as while it's true the texture of the piece changes radically at 2:16, the simple melody of this section is introduced around 30 seconds prior. M62 to M83 act as a prelude or a bridge to this brief (perhaps too brief) second theme. I could have repeated (with or without variation) the first measures of that 2:16 onwards, so the structure was more in equilibrium, or invented something else, yeah. At that time, ~2 years ago, I'm pretty sure I didn't think of any of that. Probably my thoughts leaned towards momentum-thinking rather than a "A vs. B" and/or structural equilibrium. Interesting, but a bit confusing since this Mazurka's contrasting section that appears after the repetition of A is in fact very brief, I'd argue briefer than (let's call it) the C section (cause it starts at C). Maybe, making it longer was not what felt off for you and thus it wouldn't have really solved the issue. Perhaps the material was not different enough, making it not fulfill the purpose of a small contrasting section, Prolonging it may have been useful for that, but if anything, Chopin seems to demonstrate here that time is not really a problem if the material is adequate. Again, many thanks. It's always stimulating to overthink of this, give some goes to it based on other people's POVs/clever insights... One gets used to their own pieces, I guess! Best regards, Daniel–Ø.

hmm ok, I take note of that and use next time. Could you respind to the bit about the trills and the horn and violin part though? Honestly confused about what is it that's wrong.

Thanks for the great comments about the engraving. I do agree about the empty bars and I made a mistake with that. As for the violin trills, here's an excerpt from Paganini's Variations on a Theme of "Nel Cor Più Non Mi Sento" that does this to avoid chunky notation, and I copied the same idea here so it doesn't look messy. It's perfectly acceptable notation. I think this will help you too, but there's no requirement regarding engraving about double barliens at key changes or tempo changes. It's done as a visual aid, and I personally put it only if the change is at the end of the line. What about the horn sounding note? It's all in a playable range by the way. I'm a horn player. And finally, the piece is meant to be virtuosic, so the octaves are playable. The triple stop is not meant to play as one go, but a broken chord. That's the violin standard! I don' needs to put an arpeggios sign for the player to infer.

@PeterthePapercomPoser: I finished my reviewing.

Entry:Donc, ce sera par un clair jour d'été Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 10 10 10 10 10 10 10 Average Score: 10 Review: You know, I was not expecting piece inspired by the composers of the 2nd Vienna School as part of this competition. I must agree with @MK_Piano with the engraving! It is done with such care! Great job on that front. I must say that instrumentation and orchestration of that is on par. And yes you can play it. It is very creative and it has it unique form. Form when it comes to 20th century, well...let us not bring up. Form in the classical sense was toss out of the window and modern composers were more focused emotion and new ideas. Yes, this went above what expected of the expected and exceeded. Overall, I think this is best one!

Entry:Donc, ce sera par un clair jour d'été Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 10 6 10 5 5 10 10 Average Score:8.25 Review: I have concerns about the engraving about this piece. First, there are many empty measures. There is easy fix for this, though. Do not show them. It will create more professional score. Next up is the trills in the violin section. Place the trill sign above each note vs trill with line. The method you used is for a single note that could be held. Why did you forget to use double bar line when you change keys? and there is different section? With the horn part, please remember what the sounding note is! The consecutive use octave double in a row could be challenging for even for the most experience player. The triple stop you wrote is not possible: it does not have open string. Besides that, it is a nice piece.

Just a quick reviews update: @Kvothe You've reviewed 7 pieces and you need to review @latebeethoven_addict 's piece and @JDevorMusic 's to get a "Heavyweight Reviewer" badge! You will now receive the "Heavyweight Reviewer" badge! @TristanTheTristan You've reviewed 2 pieces and only need 1 more for a "Featherweight Reviewer" badge! @Thatguy v2.0 You've reviewed 5 pieces and only need 4 more for a "Heavyweight Reviewer" badge or 1 more for a "Welterweight Reviewer" badge! @MK_Piano You've reviewed 7 pieces and you need to review @Kvothe 's piece and @latebeethoven_addict 's piece to get a "Heavyweight Reviewer" badge! @Ninja Nolan You only need 1 more review to get a "Featherweight Reviewer" badge! @Markus Boyd You only need 1 more review to get a "Featherweight Reviewer" badge! The reviewers who have already reviewed every entry - thank you!

Well done @Omicronrg9 ! I agree that this gives perfect Halloween vibes. I think this would be a ton of fun to see performed live, with all those chromatic runs. Your use of harmony is just mysterious enough to give this piece a unique quality and purpose. You do a good job maintaining momentum so that the chromatic material feels intentional rather than wandering. I imagine this music would be stunning if performed on a dark evening in a room with tons of reverb (like an old church), perhaps by candlelight. Personally I’d love to hear this music in that kind of space. I like how you initiated a contrasting section at 2:16. However it doesn’t stay contrasting for long, but jumps back to that chromatic action right away. It might be nice if you had a real contrast at that spot, at least for a bit longer. If you delay the return to the chromatic waltz vibe, it will be even more satisfying when it returns. The contrast doesn’t need to last long; it just needs to clearly make its own little statement. I think about Chopin’s mazurka in F# for example (https://youtu.be/mkveDJgf73U?is=fEcIbMDCWQQihPus), The contrasting sections in that piece are very short, but they are distinct, and clearly create punctuation within the overall form of the piece. Those little sections take you away from the main theme just long enough that its return is a happy reunion. And importantly, those contrasting sections don’t remind us of the main theme. Just a thought! As they say, the point of a bridge isn’t just to make you enjoy the bridge, but to make you crave the return of the main theme. Thanks for sharing! I love the cool video too!

For all those who are following this thread, I have updated the score and audio file. Some very noticeable changes were made to the instrument parts and overall score layout/ engraving. Enjoy!

Dear fellow composers, I’m pleased to present you today my submission to the YCF 2026 Summer Competition! I must admit, that the task of the competition was really challenging, starting from „Nothing“ and than get the right ideas for „Something“ that is reminiscent to the mood of the summer day as expressed by Paul Verlaine’s poem. The challenge. When a composer has trouble coming up with a brilliant idea for a new piece, it sometimes takes several attempts, each of which yields different individual ideas. And there are some pieces that consist of several ideas that have been “glued” together, ultimately resulting in something like a “collage song.” I’m thinking, for example, of “A Day in the Life” by the Beatles or “Band on the Run” by Paul McCartney and Wings. However, there also exists such a kind of piece in Bach’s Welltempered Clavier, the Prelude VII in E-flat major, BWV 852. That particular prelude starts with a short section with runs of 32th notes, followed by a „more serious“ part in slow motion, that reminds me at a „chorale“. The third and longest part is a fugato with two subjects that further develops the ideas from the first two sections. So with this particular Bach prelude in mind, I had thus found the model for my own prelude, which serves as the „sketch“ for the quintet finally presented here as my submission. I always start to compose the pieces for piano in order to – on the one hand, have another piece for my preludes and fugues project, and on the other hand, because I find it to hard to mix the two phases of „composing“ and „orchestrating“ together. So I have posted the piano version as a standalone piece "Prelude XXI in B flat major" on the „Piano Music, Solo Keyboard“ thread. The poem. When I came around to the second part, the “Chorale” section, I faced the challenge of treating the upper voice of this four-part harmony as the melody for a musical setting of the poem. Since I don’t speak a word of French and have no idea how the syllables are rhythmicized, I looked at Gabriel Fauré’s setting of the poem in his Op. 61, No. 7 to find out which words are pronounced or sung briefly and which are longer. As an interesting fact, I discovered that Fauré had actually chosen the same key, B-flat major, that I had chosen before. The instrumentation. Now that the decision had been made to set the poem to music, I wondered how I could orchestrate it so that it would sound like a French “chanson.” My first thought was to choose the accordion as the main accompanying instrument. And since I wasn’t sure, I Googled: “What are the typical accompanying instruments for a French chanson?”—and sure enough, “accordion,” “guitar,” and “piano” came up. In addition to these, and to take advantage of the possibility of a quintet, I use a trumpet and a cello. Both of these instruments are capable of contributing different timbres (the cello either played with a bow or pizzicato, and the trumpet either muted or unmuted), and during the poem stanzas, I always use the muted trumpet as a substitute for the human voice. The title. Another challenge. A title in French would be appropriate, but I do not really trust translation programs in such delicate situations, since I don’t understand the nuances of the possible result. Thus, I’ve chosen the simple title „Summer – A Song of Beauty and Melancholy“. The latter since the piece features more passages in minor than in major and, therefore, does not only express the joy and beauty of the summer day, but is somewhat melancholic, too. Form and structure: 00:00 (mm. 1-14) The first section is an „improvisation“ which introduces the warm key of B-flat major. 00:34 (mm. 15-29) The second Adagio section could be a „chorale“ and is used to set the first stanza of the poem to music. 01:31 (mm. 30-90) The third and longest section is a fugato based on two subjects, interspersed by further stanzas of the poem (second stanza 02:18 at mm. 48-63 and third stanza 03:37 at mm. 75-90). The first subject quotes the first four-note motif of the „improvisation“ section and develops it further, paired with the second subject, thus creating a joyful and dance-like mood. 04:22 (mm. 91-114) The piece finishes with a coda – or better to say – with a recapitulation of the „improvisation“ from the first section. Now in a more melancholic way, meandering between minor and major. I hope, you’ll enjoy it. Wieland Finally, as a kind of „non-AI proof“ I also attached my „working score“ from which the MIDI is generated. It is nearly unreadable and of cause not intended for playing but shows in detail all dynamics, articulations, agogics etc. I applied to achieve the final recording. Praeludium-XXI-B-flat-major-accordion-mix.mp3 Praeludium-XXI-B-flat-major-accordion-with-coversheet.pdf WORKING-SCORE-P21.pdf

Wanted to make something that captured how I felt exploring the great Midwest. The basic premise is sunrise, birds awakening and then taking flight through various environments, from the great expanse of the plains to the soaring mountains. Open to any and all criticism! Fortunately, music is only a hobby and not my job. Low-cortisol enjoyment. HotR_FINAL.mp3

Would you be open to sharing the score for the most technical review? Our ears only go so far :)

Hi all, My entry for the "From Nothing, to Something" Summer 2026 Composition Competition is a short mixed quintet called "Your dear beauty lovelier still". This was definitely the most challenging piece I have made: making something from nothing was by far the hardest thing I have done so far here. I couldn't find anything that would represent summer apart from giving this song the lyrics of the poem this competition is based on (Donc, ce sera par un clair jour d'été). Btw, since Musescore doesn't have any soundfonts that can sing lyrics, you won't be able to hear the lyrics in the audio. Here is the pdf I hope you enjoy 😁 your-dear-beauty-lovelier-still-musicbro456.custom_score.mp3

Bela Bartok Takashi Yoshimatsu Masayoshi Takanaka In fact I'd like to recommend a specific album by the latter composer that I love: In hindsight I don't really think this album is quite "Avant-Garde" but I think it's great music anyways. It probably belongs more in that other thread - https://www.youngcomposers.com/t49833/sharing-musicians-and-works-lets-meet-new-music/

Hello @Omicronrg9 ! Thank you very much for this urgent and detailed response! I’m still a little overwhelmed, so that I will need some days to study that all thoroughly – I’m sure, I will learn a lot from it! I’ll get back and reply as soon as possible. Wieland

I would say Igor Stravinsky and George Gershwin are quite avant-garde but I'm not sure about George Gershwin.

Hi! Just assessing Henry here, I guess. @Henry Ng Tsz Kiu note that accordionists overall, specially those who are amateur, or just interested in performing, will know as much as any non-player (but musician) of the ways this instrument may be properly engraved. More often than not, as it happens with many other instruments, we "convert" the information to our format on the go. I fear something similar would happen to the piece you've brought to my attention. Now, in regards of the accordion scoring of this PDF I'd say that : RH specified at the beginning of the piece do not match with the provided sounds (LH could, but I'm not certain, it sounds like a Soft Bass and it definitely has no soprano voice sounding in those very first bars that I'm discussing right after this bullet) MMM or MM for the RH are the ones you're looking for, at least judging by the soundfont which appears to be a french musette, so it's either that or open violin register. Note that no registers work for providing thirds neither accordionist spawn them on the go. I'm seeing the working score and I just don't get why there are so many notes that are just not present. Note that not all accordions have these, some 3-voice Piginis and other famous italian concerto accordion brands prefer the dry sound of the harmonium register, LMH. or 4' + 8' + 16'. Your sound is 8'+8' or 8'+8'+8', assuming it's the one you are seeking for. Chord movements by semitones are to be avoided if possible. Otherwise, you'll be inflicting tremendous pain to the accordionist, assuming Stradella system since it's the one you're using. So, without extending myself much, let's just review some examples. These are M15 to M18 if I'm not mistaken. RH register, according to the audio, should be MMM or MM as I mentioned. Bass voice doesn't sound like Soft Tenor but that's minor. What's not minor is that F#dim and Bdim are so far away from each other and from the G7 and C buttons, demanding unneeded agility. Here there's no other option than to briefly discuss voicing. The voicing on standard 6-row stradella accordions with 2 rows of basses and 4 rows of chords is root+m3+7dim (and depending on the register, that can be doubled or tripled in octaves above and below). There's no fifth sound, neither in the 7 button chord, allowing the accordionist to essentially do a Xm6 or a Xº by using the dim button and the proper bass, and some other interesting combinations. And thus, all these red notes are... Not quite accurate, to say the least. According to the register you are using in the score (soft tenor), chords should be an octave higher with the proper voicings. No chord button alone produces more than 3 notes. M/m -> 1-M/m3-5, and for the other two (7, d), you take the 5th. You can find more information about Stradella voicings here in case you be interested in making it right. I have briefly talked about this for a reason, since you're not doing the complete Xº tetrad, the symmetry of chords marked "d" is in principle broken. But since I don't think it's gonna be a problem because the F# is already being played by another instrument, in that excerpt I would change F#º by Cº, which is very close to the G an C chords you're gonna play afterwards, and also, on a similar fashion and by using a similar argument, I would change Bº → Fº. Note that similar occurences happen throghout the whole piece. Finally, there are many register changes that are not reflected in the audio at all. In fact, since the very beginning it's clear that there's no "Clarinet M" sounding, but a French musette. While I can understand the limitations because most usual accordion soundfonts come with musette or in two voices already, there are plenty of incorrect examples. Here I tried to point out some. M26-28. The "Master" register uses 5 voices in the bass buttons, 5 because the contralto doubles the alto voice in half of the octave and the tenor voice in the other half, adding to the previous Soprano (2') + Alto (4') + Tenor (8') + Basso (16'). The website I shared notes C to F in alto and F# to B in tenor, but truth be told, this depends 100% on the manufacturer. On the right hand we got a fair deal of strange stuff too. You write "Musette Imitation", which consists on 2 middle voices (8'+8', one lightly detuned forward, usually) and a voice that's an octave higher. And that's for all notes, not jut for the ones you'd like to double, sorry. What's usually the benefit of changing registers that much in a piece? Little, unless you are Gianfelice Fugazza and you know exactly, and I mean exactly what you're doing, in the context of a pedagogic piece, an étude, an example, or a concerto piece. So I can assure you that with no loss of sound quality or musicality, had you removed all RH register changes and replaced them by an open violin (8'+8') and/or a musette (8'+8'+8') register, the sound would be closer to what the audio depicts and probably to what you were seeking for, since: Accordion, yes! Any accordion? Nein! A French musette accordion, a Cavagnolo, a Mengascini. Not a dry Pigini and if you wanna be just right about the french sound, not even a Hohner would do the trick. Ah, and these are often traditionally button accordions, not keyboard accordions, but you'll find a handful of them too. By doing what I suggested, you'll get rid of difficult/uncomfortable sections. Apart from the chord issues, we'd clean up things like these: Not impossible at all. But if you don't have one of these expensive accordions (that won't sound like French musette) that come with chin switches, you'd better pray these three registers are close enough. And just in case, the other hand is busy handling the bellows. And again, your working score (which I assume you used for the audio) doesn't correctly notate the passage according to the registers of choice. That said, the piece was nice to listen to. Not my turn to evaluate it, and I don't really want to bore you further, but the "Engraving" and "Playability" parts (which are definitely related in my opinion... Something may be possible to perform but its actual playability could be demeaned by its poor engraving) would not get a pass from me, sorry Wieland. I mean: your score frontpage looks very nice, it's original, and imo shows great care for it (though, why does it say 15 of 24 if this is the XXI? Or I'm in the wrong?). So, what happened here? Why none of that permeated into the score itself? Lack of time? Perhaps indolence? Lack of inertia or eagerness cause many may not make use of it for judging? I'm sorry if I'm being hard, but I'm not ill intentioned at all here, I just do not understand. I may not agree with every engraving choice you made in your XXI Praeludium for piano solo but that shows how you could have got a way cleaner score out of this. Or maybe not? If you don't mind, Wieland: what software are you using? Musescore 4? I think this reply is long enough already. I wish you the best for this competition. May you find any of this of help. Best regards, Daniel–Ø.

Hello I’ve written another sketch for orchestra. In this piece, I’ve used ‘sound mass’ techniques in some sections, and harmonies based on fourths… I haven’t really thought about any specific chords, just voice leading. The first section is the fanfare; the second is the more subdued, evocative section. There are no oboes or violins, so that the brilliance comes from the brass. Fanfarria.mp3 Fanfarria.pdf

@Kvothe Please don't spread misinformation like this about the contest entries. The piece is 6 and a half minutes long and therefore meets the duration requirements of being between 3 - 7 minutes long. The piece is also written for a quartet of saxophones which is an acceptable instrumentation as the competition is for 3 - 5 individual instruments.