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I see! Feel free, yeah. Trying to maintain a certain balance between number of posts & number of replies is a wise choice. In my experience, uploading too much and replying too little leads to being ignored because others fairly see you as someone that only wants a bit of attention and that doesn't really care about anything else. It's a valid stance, but it leads to rejection. That said, I encourage you to keep posting & interacting here. I'll make sure to check your No. 8 whenever I find a bit of free time! Regarding this: do you use a software to make these pieces that doesn't provide a solid PDF output overall? Regards!

Sometimes it's not about your skills, it's more about whether the judges' taste is similar with yours and your work's skill level can still be very high even if they think it's not good enough to advance to the next round. I think of winning any prizes more like a chance event, just like having job interviews haha. Keep going and you will for sure pursue what you want! Henry

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 4 8 2 10 3 8 2 9 Average Score: 5.75 I'm not one to enjoy being critical, too harshly of anyone's original music, as most of the time, music is subjective and taken in based on individual opinion and preference, but from a professional stand point, this score is quite difficult to follow. I'd also note that the terms of the competition stated; "3 - 5 monophonic or polyphonic instruments/voices." {most of the Instrumentation choices here are neither mono / polyphonic in nature, and there are far too many of them.. lol} While I understand your intent, in your use of braces (which you used grand staff brackets rather than part brackets, but I understand, nonetheless lol), for a section representing 1 performer, it's simply not within the constraints of the rules of the competition. I went ahead and graded it as I would any other score, however, to provide you with some level of feedback on the writing done here. I did not want to neglect it, artistically. As you can see, I highly favor the Originality, the Textures, and your taste within the given score, however, the piece itself is very "through-composed" without much rhyme or reason that's easily discernible... Meaning, I don't hear a motif that catches my attention; a home for me to reference back to again, to keep my ear on-track with the music. For that reason, I felt a 2 was appropriate for the form/development section, as well as the 4 in the Melodies, Themes, and Motives. (Slightly higher because of the intricacies in melodic components with the few polyphonic instruments you do have in use for this score.) Ultimately, I feel that this score should not be considered as a valid entry, simply based on the number of staves you've used here, despite the constraints, but I will always have respect for anything that anyone has taken their time and effort to work on, and this piece, in and of itself, has the potential to be much greater than it is, currently, I think. - Uncle Red

Subject: Honest Feedback Requested: Lithl - Swarm of Sound (Polytempo & Polyrhythm) I would like to hear your honest thoughts on my piece, "Swarm of Sound," without any flattery or sugar-coating. I don't mind harsh criticism at all; in fact, I would find it very helpful. This was submitted to the Sonuscore Competition. (While the music was not originally composed for this contest, the video was created specifically for it, so it differs from the actual original concept.) It was rejected, and I want to know exactly why it failed, where it fell short, and whether it even functions as "music" at all. Please provide your feedback without any compromise . =The Concept= Idea: The piece was built around the imagery of a massive swarm of percussion with strings.While the result bears a slight resemblance to Ligeti's Requiem: II. Kyrie. Molto espressivo, it was created primarily out of curiosity—specifically to see what would happen when stacking polyrhythms in polytempo based on my initial imagery. =Compositional Elements= A. Polyrhythm: Based on the concept of using 12 notes in the strings, I chose a 3:4:7 ratio (resulting in 12 notes per cycle). B. Polytempo: The above polyrhythms will be performed in polytempo.I determined the tempo based on a manually drawn graph. There are 12 sections; each new tempo is added as the previous cycle ends. The tempos are based on integer ratios rather than simple multiples, progressively getting faster. C. 12-Tone Strings: To evoke the "swarm" image, I used all 12 tones. Strings are triggered simultaneously with the polyrhythmic/polytempo timings and held until the next note is played. Furthermore, the strings are layered in octaves. This ensures all 12 tones are constantly sounding to heighten the sense of chaos. The strings are played with tremolo. D. Aleatoric Selection (Dice): To remove personal bias from the note selection, I attempted a randomized system based on simple rules (inspired by John Cage). Specifically, as shown in the video, I created a table using dice to select the notes. This makes it more chaotic and hopefully creates a kind of swarm of sound. =Final Note= I submitted this because the timing coincided with a contest held by Sonuscore, a major strings library developer, but consequently, It was rejected. While the other entries were undoubtedly wonderful, I am left wondering if this rejection proves that I lack talent or that I am merely producing self-indulgent noise that provides no value to the listener. If that is the case, I intend to change my approach immediately upon receiving feedback. Please be blunt. I am not looking for comfort; I am looking for a harsh, honest critique. I would truly appreciate your rigorous feedback. (Private feedback is also highly appreciated.) Thank you and sorry for taking up your time.

Hi Sera, welcome to the forums! Just as an advice, many of us like to read the sheet music in case there's any. Maybe it's not the case here? Did you use a DAW to make this directly in MIDI + VSTs? Hmmm. Still in the first mp3 you attached. I guess I should read these criticisms more in depth in order to see how much I would agree or disagree with them. Often, the definitions of what X or Y are depend widely on the person using them. I would be inclined to think that when somebody told you that there's "no melody" they tried to convey something a bit deeper than "there's absence of a melodic line". Maybe they themselves don't even know how any better way to tell you their thoughts, but again I am not sure since I did not read these comments myself. There's obviously a melody in the sense there's an horizontal line in the piano (and later, on the strings) that's intentionally put on top of the rest of the sound mix, and there is some motive repeating here and there but it is shadowed by the —I would say, evident— vertical design of the piece in one hand, and also by the repetitive nature of the piece itself, a repetition that does not rely on the melody but that is commanded by that vertical design. The block-ish simple 4-chord progression/wheel harmony (Em G Bm D, with ocassional variations G-> Am, Bm-> Eb), to me and in this very case, competes against the melody here, and successfully (to some of your critics disgrace) robs a good chunk of its prominence. Adding variations and ostinatos on top of or next to said melodic line does not help. On top of that, the dynamics that are not built by layering instruments/voices are in my opinion either very subtle or inexistent. All in all, I can get people saying: "there's no melody" as an oversimplification of "this piece lacks a strong melodic line leading it". In fact, the harmony itself leads (or restricts) the melody. As much as there's rhytmic movement in the upper voice in the piano, it always stays inside of each bar. The piece barely moves from that so what the brain ultimately gets is "| Things | Things | Things | Things |". The melody is not on top of that, but constrained to that rigid sub-structure. Your alternative three "melodies" suffer from that. You build vertically, vertical sub-structure commands over horizontal movements, and thus the melody you build doesn't escape and get the prominence it needs to be righteously called a "melody". This does not mean that any piece with these characteristics will have no distinguishable melody, but that this happens in this particular case. Let's stop a bit at the "it's just tinkling", I would not say that but I kind of get where this may come from too. Keeping in mind what I discussed in last paragraph, if you combine "melodic line not leading", "ostinatos & small variations" and we consider that the piano resorts to it's high register in order to make that melodic line more prominent, we get something that we could indeed call "piano tinkle". I would say it can be cantabile, but it can also feel easily forgettable because it again gets diluted by the things I have been pointing out in this message. But wait a minute: do you intend this piece to have a prominent melodic line to begin with? After 3-4 listenings, it strikes me as a piece with (strong?) influence of the style of L. Einaudi (and the likes) . I'm not a fan, but it's yet another way to build music and it doesn't neccesarily rely on a melodic line to move things forward. For certain purposes, you don't even want things to "move forward". You may want to create an "atmosphere", or simply something whose main source of movement &/or development is not concentrated in the melody. You do you. Finally: it doesn't strike me as a Ballade but I'm not sure if there's a clear defintion of that so no big deal. Did you yourself think: "I want to make a piece with a clear, distinguishable melody."? Just curious. Best regards, Daniel–Ø.

I'm impressed both by your light touch playing this, and the lack of scratching out on your handwritten copy. If I wrote that way, it would be all chaotic scribbled out former ideas. The interplay between your first and second sections works very well! A very satisfying piece to listen to!

Hello! It is time. As you asked, I have delivered. Attached on this comment are my annotations on the arrangement thus far. Directly under, I have attached a sample PDF and sample Audio file to pair with my notes. The notes are found at the end of the current score and if you have any questions, please do not hesitate to ask! Kvothe - Reger Humoresque (ANNOTATED).pdf Attached Files: Kvothe_Example.pdf Kvothe_ExampleAudio.mp3

Hi all, it's been a really long time, I decided I wanted to come back and check out what's going on! I also wanted to share two successes of mine in the past several months: Slipping, which was written in early-2025, written for Symphonic Orchestra, was performed by the California Youth Symphony in November 2025. I have attached the score and two recordings of it, one MIDI and one of the performance. The Dunning-Kruger Effect, written in mid-2025, written for String Orchestra, was performed by my school orchestra, which I conducted. I have attached the score and here's the video: https://youtu.be/CQBDUVbKEpQ?si=psCVro_MLM3NfmEV . Looking forward to seeing what's going on in this forum after so long! Slipping.mp3 Slipping FINAL MIDI.mp3 Slipping-score.pdf the dunning-kruger effect score.pdf

Hi! Actually I just completed my piano toccata piece inspired from living near the motor city (Detroit, MI) in my childhood... I decided to make this toccata piece since I thought the mechanistic characteristics of the genre match well with general images of the motor city... In this piece I tried to express free style of lots of jazz and popular music heard when I was growing up near Detroit, while keeping this piece modern classical music... Hope you enjoy this piece, and please feel free to leave any comments and suggestions :) Motorcity Toccata.mp3 Motorcity Toccata.pdf

Hello YC gang, Below I have attached the first ten measures of arrangement of Meger second Humorquse. The cast is woods in pairs and two horns. Here is what needs to you check for me: Score this as if this this was entry for YC contest. My goals; I want to successfully score for orchestra->check balance, texture, and timbre. Check for engraving errors I have missed. check for instrumation errors Harmony errors etc Reger Humor no. 2 untitled.mp3 Meger.pdf

Hello Tristan: I have these glaring errors in there because I don't play the piano—and when I do, I only use virtual instruments. You are right about that octave; I hadn't considered that it might not be playable. As for those notes that appear to be marked as triplets, they are actually three eighth notes, though they do look like a triplet here. I didn't intend to have triplets there—nor could I have them—because I would otherwise be short an eighth note. Thanks again for your helpful tips.

Hi Tristan! Nice composition! I would say, you have a nice thematic idea. You could have progressed it, though, into d dur or perhaps c dur. As we can see here:. your writing is very messy, although using a notation software. You should know that in composition, you could always use marks such as simile. You also didn't have to keep emphasizing that it is piano and not something else like... Idk... fortississississississississississimo. As you can see, you have decided to make a triplet here at the start. Very creative, but, the problem is the notation. You need to have a 3 on the top of the triplet... Right? Adding on to my point, it doesn't even sound like a triplet, so why did you do like such? I am confused. Also, you shouldn't write ♩=120. Instead, write Italian. More fancy, you know. Write moderato. Write poco allegretto ma non troppo. (etc.). Moreover, some stuff are proving a second Rachmaninov, which is you, because of these.: yep. That is your left hand span... I am surprised. Nice one, welcome to YC, enjoy your time, see you later! -TristanTheTristan Composer

Just had a listen to it. I'm not sure if it's stimulating but I found it funny (in the good way) at times. I can get why it's called "noise": the piece ended, and youtube directly put "Studie 1" from Stockhausen next. I couldn't have told that it was a diferent piece if they were both presented in the same mp3. I would say this is a matter of finding your public. Value is relative, and subjective. There's always a non-zero chance that some may find your work (the one you submitted) interesting or even beautiful. In fact, you can prove this yourself by making something you may find most terrible and sharing it. Sooner or later, someone may appear and praise it. Keep following the path you like. Kind regards!

Hi Lithl, welcome to the forums! As an experiment, I'm sure it's been entertaining and enriching for you. For me, the result is just a noise crescendo, I don't find it interesting at all. The processes that lead to it may be, though. I don't think that what you did proves or disproves that you lack talent. From this alone it's impossible to tell. Talent for what exactly, though? What are you pursuing? Are the other contestants' works similar to yours? How important is it to you to provide value to the listener? Best regards, Daniel–Ø.

Really? That sounds like a very harsh critique. To be truthful, I think your work is good; it simply reflects your good style. Your melodies have a certain melancholic quality, yet they still feel energetic and full of hope—Specifically, in version 80, the first 27 seconds have a bit of a lonely, melancholic atmosphere. But starting with the note at 0:28, it feels as if the music begins to take a step forward with a sense of hope. It’s hard to put into words, but that’s the impression I get. Whether that was intentional or not, your music is capable of telling a story, and I think that’s great. I’m also interested to hear how others feel about it, not just me.

Could you tell me, for example, what kind of criticisms you received? Personally, I think it’s good overall!! If I had to point something out, I’d say the melodic phrasing feels a bit similar throughout, which makes the development feel a little thin. Among the new melodies, I really like measure 90. Personally, I thought it might be interesting to try swapping the left-hand accompaniment of 90 with something like what's in measure 96! By the way, if you don't mind, could you tell me the name of that forum? I’d love to take a look myself.

Hello my dear friend, First of all, thank you for taking the time to listen to my sonata, and I’m truly happy that you enjoyed it. I thought it might be nice to share with you how I conceive these sonatas in my mind. The truth is that I have blended many different elements into binary form with the intention of creating something personal—my own voice through binary form. Structurally, it is indeed binary, as expected. What I do differently is to approach it with a more Classical sense of transitions and dramatic development. So in essence, my sonatas are fundamentally binary, but with a Classical morphology, featuring clear transitions and the sense of dramaturgy found in the Classical era. Harmonically, I would say it is a mixture of many influences—primarily Classical, with touches of early Romanticism. I absolutely love binary form. Domenico Scarlatti has been an incredible inspiration to me, and I decided that I, too, wanted to create a vast musical diary of binary sonatas—works that truly feel like my own personal musical journal. At the same time, this form encourages me to be bolder, more innovative, and more adventurous compared with other genres. Once again, thank you, my dear friend.

Hello @Vasilis Michael It is refreshing to see a binary sonata form. Binary was primarily used by baroque period composers before the proper form took off. In the A section, you would have your primary theme in tonic. Followed by contrasting B section in the Dominant. What makes binary stand out: the lack of transition between the two sections. Or maybe there is one(?) We can tell there are two major sections. One that repeats and one that follows after repeat of first section. Ergo. binary! I love how the main motive is used thorough out the entire piece. It moves so flawlessly. As usually, your writing is on par! I could not hear anything wrong. :)

Hi Tristan, This sounds very nice! I would suggest finding a different composition software to use, however. The spacing of the notes on the page is a bit all over the place, which makes this challenging to sight read. Musescore is a good free option that sorts that out for you automatically. I haven't used Vocaroo, but I understand it has some AI features for editing recordings?

Not normally, no. They are standard in our industry. The only time it would be broken is when you have a larger ensemble or other instrument combinations that are not standard. In this case, it’s not about orchestral order, it’s about highest-> lowest instrument for the layout.

Those are very different things. If I buy a hydraulic press and use it to flatten a stainless steel pipe, obviously I'm morally responsible for flattening the pipe. If that pipe belonged to someone else, I can hardly evade responsibility by saying, "Hey, it wasn't me! It was the hydraulic press!" On the other hand, it's equally obvious that I can't lay claim to flattening the pipe as a feat of strength. If I cry, "Behold my strength!" as I hold the flattened piece of steel aloft, I am quite rightly met with, "Uh... you didn't do that. The hydraulic press did."

Hi Nostalgia, and welcome to the forums! This piece put a smile on my face. Maybe because of its light character at times. It seems to be a hard one at other times, though, and I'm sure that if I delved deeper I would end up finding some less convincing passages (to me) but I'll leave it like that and just suggest you to keep composing! I know this is not very helpful but... I just enjoyed the piece on a first listen and I am afraid my time won't let me to listen it again to better analyse it. Best regards, Daniel–Ø,

Thanks for the words :) It is not a soul crusher, however it has made me upset. I am proud of this work and saddened to not be given the chance to hear it live. It may be another year before I have the same chance. Yet... we push forward and strive for the next opportunity. In the end, it won't keep me down, and I will still work and increase my skills to win the next one(s).

Iv been kicked in the teeth , and rejected several times in life but when you drive your car into a Dead-End....................The Sat-Nav "RE-ROUTES" And its the same with the Human Brain..................... https://www.classicfm.com/discover-music/second-time-lucky/

Could also think of that as a 13th chord without the seventh... so, maybe something jazzy as well? Ravel-ish? Makes me think of a music teacher I had, wrote all kinds of big band type stuff.

Study in G# Min.mp3

idk opus 4 - 1.mp3 opus 4 - 2.mp3 opus 4 - 3.mp3

Yes ...He certainly knew how to " MILK A BUCK " When interviewed and questioned, how he felt about people belittling him and mocking him, He said : " I cried all the way to the Bank ... And then i Bought it " ---

Oh, I already heard about the guy, "Mr. Showmanship". He was a clever one, good performer, better charmer. Regards!

Hi Nd, welcome to the forums! Do you happen to have a score of this? Interesting choice of piano, by the way. I'm not particularly fond of the way it attacks the notes that are outside of the high register but that's a more a matter of taste than anything else I will likely say in this message. I found some nice moments of calm in your piece, such as the section starting at ~1:10, or the section that preludes the end. Some others, such as the accelerando + pedal and the passage preceding it (1:35 and on, more or less) were not really my thing, they seem forced and for me, not in a good way. Question: did you publish the No.3, No.2 or No.1 here? Just out of curiosity. Best regards, Daniel–Ø.

I am unaware of this. Do you have a guy for... Wait, what's a sync agent in this context? 😆 A melody atop of the video &/or your piece can indeed sound better. But one must take certain things (some I did point out in the other reply, some not, some others I may not even know) into account when writing one. As a suggestion for experimenting yourself, perhaps you could try writing a melody with a distinguishable instrument (such as a flute, a clarinet, a music box, or whatever you want) on top of what you already have (minus what you think that could interfere) and see what happens, if it works, or it gets so cluttered. Kind regards!

Soundishly, perfect orchestration, my friend. How well you know the piece and the instruments you used is obviously extraordinary. Continue working on this. This is great.

For the first time in my life, after watching a few harmony videos, I wrote this waltz. I'm curious to hear your opinion. https://voca.ro/1juGRRVoFhLh Walzer in G-dur.pdf

I thank you very much for your vast explanations. Now I can understand much better what the people meant with their critics. This initially should be an job from my sync agent. This youtube song was the example. Wanted was something in this style. https://www.youtube.com/watch?v=T8AAacIL3LM The track in the video has almost no melody. While the devoplemt of my piece I created a melody and I thougt with a melody in my piece it would sound much better.

Thank you for your honest opinion. That is exactly what I wanted to hear. To me, if a piece is not found "interesting," it means it is no different from a mere mess—it is not a work that holds value for others. When I create a work, I don't necessarily have the conscious intent of making it for someone else; rather, I make it because it's fun, and I am satisfied with that aspect. However, I feel that can sometimes turn into a sort of self-indulgence. What I am clearly seeking is to create something that others find highly creative and stimulating. For example, Edgard Varèse’s Poème électronique is a work of so-called "noise," yet it is stimulating and incredibly imaginative to listen to. (Of course, I don't think for a moment that I belong in their lineage, but that is exactly what I am aiming for.) I believe I can only take pride in having created a "great" work—moving beyond simple self-satisfaction—when it possesses the kind of value that makes others feel it is worth listening to. In other words, I am talking about that specific talent. Even if I can create something I find interesting, if it holds no value for others, I feel I lack the talent—or perhaps the ability—to present that value. Of course, I don't think anyone's talent can be fully determined by a single work, but I simply wanted to ask as a point of reference. At least with this piece, I wasn't able to provide any value to the listener; therefore, I suppose it can be classified as a work of self-indulgence. Regardless, your perspective was extremely helpful! Thank you for your valuable input.

Hello Have you heard of this virtual instrument called CANTAI? Please note: I have no affiliation with these programmes, even though I use them. https://cantai.app/ It’s a virtual instrument for voices and choirs. It works with MuseScore (which is more advanced), Dorico (the official version was released a couple of days ago) and Sibelius. The novelty is that you write the score, add the parts (soprano, alto, tenor, bass, choir) and write the lyrics... And once everything is set up, the result is that it ‘sings’. I use it with Dorico. It still needs improving, because although it interprets dynamics and accents, and there are many voices available, there will be more. At the moment, in Dorico you can write in English and Latin. But Chinese and Spanish are already available in MuseScore (I think). I’ve written this little sample song to see how it works.

Here another example with text in Latin.

Thank you for your reply and honest thoughts. -Regarding your question Music is a work of sound. Therefore, as long as it is presented as a "work," it is created with some kind of purpose or intention, regardless of whether the sound itself is noise or not. In that sense, the difference between noise and music isn't about the sound itself; rather, it’s about whether that sound has been incorporated into the context of a “work.” If a sound has no intention behind it and is not presented in any form, it is simply noise. However, if it is presented by the creator—or even perceived as such by others—it has the potential to become music. Regarding SFX (Sound Effects), they are not the primary focus but rather a secondary element to the visuals. While they undoubtedly play a crucial role, whether SFX can stand alone as music depends on whether making them so is "meaningful." At the same time, I believe another essential factor is whether the work brings value to the creator or the audience—be it through being provocative, original, or inspiring. Even if you present a sound work with a specific intention, its true "greatness" is objectively evaluated by whether it is genuinely meaningful. That is exactly why I would like to hear your honest opinions on what you all think of this piece.

"Thanks for the honest feedback! I'm glad the music itself sounds good to you. I will try to improve the visual spacing in my next pieces."

Highly mesmerizing. Highly entertaining. Is this going to be a full fledged show?

Hi long time for no posting! I decided to post an old work of mine.This Nocturne in C-sharp minor is a juvenile work of me as a 16 year old. I didn't think much at the time of composing, but I did write in the style of Chopin Nocturne then. And then a sudden thought caused me to have a 1st try in fugue in 2:35! I revised the work recently to improve on some voice leadings and transitions except passages after the fugato, but retained as much the original intention as I can as a 16 year old then. The work, even though as immature as it is, does reflect some of my feelings then. Here is the Youtube video and the score of the piece: (Final Draft) Nocturne in C sharp minor.pdf This work can be regarded as in a rondo structure: 0:00 1st part(A), typical Chopin Nocturne texture. Don't know why I modulated the music to F major but the music did so himself... 0:58 2nd part(B) Main melody in F major, but with a new b motive in b.31-32 1:35 3rd part (A') The main melody in the original key can't wait to enter... Gets more agitated and cools down. 2:35 4th part (B'). A fugato using motive b as subject and main melody as episode, modulates once more to F major 3:57 Last part and coda (A''): The A section returns with some registeral change, then gets more agitated. 4:29 is the climax of the piece which is my favourite too, I like the agitation in it. 4:47 starts the coda and finally the mood cools down and ends in tonic major. I played the recording myself. I do make one major slip in 3:22 but the recording is otherwise good enough for me. Feel free to leave comment below! Henry

Hi @Henry Ng Tsz Kiu! Below you will find in depth review of this haunting piece! First, let me say what your piece reminds of. It reminds me of Chopin's Nocturnes and Rachmaninov musical moments and preludes. Both, in their on right, wrote lush, emotional themes over triplet 8th pattern. In fact, Rachmaninov used that pattern in his 5th prelude. Nonetheless, we can still bass patterns in our own works! I love how you establish the harmony using that pattern over theme. The pattern slowly changes as the theme moves. The chromaticism creates sense of mystery and wonder, by the way. The transition into the B section is exactly what we need to hear: a break down of the thematic material before a new section! (why does this remind of Franz Listz) After we hear the B section, we return to A, briefly, to remind us of the haunting theme we heard at the start. Then it finishes all together. Overall, I thoroughly enjoyed this.

I would be tempted to just add a caesura marking between the repeated section and the continuing bars of #5... Since this is a work for solo instrument that doesn't need coordination between players, there is no reason you can't trust the musicality of the soloist to add an appropriate amount of rest. It's always nice to see something written for solo instrument, as so many of them are a bit neglected by composers. Very enjoyable and I think a live performance would bring out the phrasing nicely.

Exceptionally Professional.....Well Done. That Dunning-Kruger Effect, is SOOO True

Dear friends, Please find attached my second attempt to write for theorbo. I wasn't very happy with my first effort; but I think this one has more promise. Not quite sure about my ending though. Does it fit? Any suggestions for titles would be helpful too, because I can't quite think of one at the moment. Theorbo piece #41 (midi).mp3 Theorbo piece #41 (midi).pdf

So looooooooooooooooooooooooooooooong! You should get upside collosus of prora badge, like extraordinarily existential and huge orchestra. This is funnily fun to listen to. Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 10 8.5 10 9 (too messy because of size) idk... like... 7.5? 5 (great soundscape, but not trio quartet or quintet) 9.5 Average Score: 8. 4375

Hallo @luderart as you frequently present compositions in this style—short, aphoristic pieces for solo instruments—your compositional approach differs from that of most other members of the forum, who often attempt to write full-scale symphonic works for a large orchestra. Yet in an orchestra, an instrument is merely a gear in a large clockwork mechanism and is subject to the conductor’s interpretive intent. On the other hand, dedicated solo pieces for monodic instruments seem to be rare, so that I could imagine that they are appreciated by players of the clarinet, bassoon etc. However, when I listen to them and look at the score, I sense a kind of loneliness (which is not a criticism, but merely a statement of fact): The solo instrument „utters“ its sentence, yet no conversation emerges, as there is no accompanying or contrasting voice. And even the score pages look a bit „lonely“, since there is remaining whitespace due to the need of only one staff for notation ... Here is another, similar approach to a piece for a solo instrument, the bassoon. The composer, in that case, decided to put the „sentences“ in a more programmatic context, depicting „a garden“ over the course of a year. https://youtu.be/ok_R4cstdGs Now, some short thoughts to the individual sententiae: No. 1 It serves as an overture, trying to gain the attention of the listener. The meter change from 6/4 to 5/4 in bar two is somewhat surprising, and, together with the two trills, reminds me of the bells ringing in the lobby of a concert hall, urging the audience to take their seats before the playful quintuplet melody begins. No. 2 A short, playful piece - reminding me at children playing around. No. 3 To me, the third sentence has a melancholic and contemplative character, which is only seemingly lightened by the eighth-note runs. The final question remains unanswered. No.4 The fourth one has a quality that even exceeds the character of a „sentence only“. Because it consists of three clearly perceptible motifs, which are used in sequences, it has enough thematic material, so that it could be developed further or used as a sketch for a much larger piece, too. No. 5 Again, a sententia which is a short piece of its own, now in A-B-A form, yielding a small exposition, a development and a recapitulation. (Fun fact for me is bar 11. in 1/4 meter with the sole purpose to place a rest ...) No. 6 Number six for me expresses the idea behind the „sententiae“ as its best: Although it has a simple texture with only staccato semiquavers, the rests at the end of the phrases serve as the period at the end of a sentence, thus structuring the short utterance. No. 7 With number seven – which also bears thematic material which could be developed further -, we come back to a more melancholic mood, somewhat a recapitulation of sententia number 3.

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

Hello All! 😀 In this post i present my composition called "Land Of Gods". It is not finished yet from an orchestration point, but i believe with the current score you can feel and understand its musical content. It is purpose is to convey the awe, the majesty , the grandeur, and the influence of the ancient deities of ancient Greece. The mighty gods, untouchable by humans, they are able to influence all aspects in the life of the people. Its dark at times, epic and very melodic. The divine realm, ruling the cosmos, both with good and evil intensions, but never within reach of the mere mortals.

I have no idea why I did not post this here, but I am going to start up a string of tutorials on my Youtube channel. I talk about tuplets at the very basic level, and why you may want to use them in your writing. Give the video a thumbs up, comment if you wish, and don't forget to subscribe if you want to see more of this type of content from me. Video is really long, but I break all my content up into chapters. I'm open to suggestions on how to improve my videos. For example, if there's too much dead space I can try to make my videos progress a little faster. Or if the videos are just too long, I can break them up into smaller segments. I'm literally experimenting with video length.