quintet Daunting Steps - Quintet for Piano, Flute, Contrabassoon, Violin, and Cello - 2025 Halloween Submission

this is a submission for the 2025 halloween competition. i was just really going for a spooky halloweeny vibe but not like "terror and dread and killer" vibes. it's definitely lighter than the other submitted pieces. also, contrabassoon! very spooky sounding instrument, and i've tried my best to harness that specific quality of it.

enjoy!

update:

-updated score from @Kvothe's feedback

Entry:  Daunting Steps

Average Score:9.3 Very good

Review:

Execution: 10

The entry met the two requirements for this competition: an ensemble for solo instruments with the time frame of 3-7 minutes (with a sweet spot of 5 minutes). 

Instrumentation : 

Triple tonging in the woods usually marked with Flz. (flutter tongue). That way, the flutist knows how to tongue the notes.  As for String writing: there are some techincal issues to be addressed. First, Sul G marked only one measure. That seems bit confusing.  The measure tremolos with double stops...that might be cause playabity issues. the port. to natural harmonics.  Also, i am not sure if Arco with tremolo can be achieved then a port. That is rather demanding.    In this area, the entry will be score 7. 

Score presentation: 

After a careful readful of the score, there notation and engraving errors. There was hair pin that was not algin with the staff. There are rest that 8ths rest that should be quarter rests.  The 16h note triplets in compound meter might be misleading.  Ergo, the score will 9 

Taste: 

What I like about this entry is that is experiments with idioms that general audience might not be accustom to. There is high sense of chromatism that leads you wonder if this atonal or not. Ferium knows how push beyond traditional harmony and open the door into modern harmony.  For that, I will give a 10   

Form Development Structure Time

There is a clear sense form and structure in this entry. Although it does not use classical structure, which one may be used, you have to know how modern composers use form and structure in new ways.  Unlike the traditional sonata forms, this piece is more like Rapsody or similar to scherzo.  Both are free forms. I am going to Scherzo in this case, since the meter matches here. (However, I am not sure...if that composer wrote that way). A Scherzo is built like minuet but in 6 or 3. And in this 6/8 with two meterical stress. And that was achieved well. 9.5.  

Harmony, Textures:

The interplay between parts created moody polyphonic and chordal textures. 9  

Melodic material

The melodic material through this was well devopled. 10 

Overall this orginal and creative: 10 

10 hours ago, Kvothe said:

Triple tonging in the woods usually marked with Flz. (flutter tongue).

updated. i thought i only needed to use the triple tremolos, or flz., or both. i've chosen to use both to make it clearer.

10 hours ago, Kvothe said:

First, Sul G marked only one measure. That seems bit confusing.

updated to encapsulate the measures that should be played Sul G

10 hours ago, Kvothe said:

The measure tremolos with double stops...that might be cause playabity issues.

i'm not sure what this is referring to? if you meant the cello in b.37 where it plays measured tremolos with double stops, i'm pretty sure that's doable unless there's something else to it or i'm just outright referring to the wrong thing

10 hours ago, Kvothe said:

the port. to natural harmonics.  Also, i am not sure if Arco with tremolo can be achieved then a port. That is rather demanding.

it is intended to indicate playing on open strings, not nat. harmonics, hence the "0" fingering. i've changed it to an actual open string symbol now. with the tremolo glissando, i think that's also doable? i've done some searches and have heard that specific playing in a piece i'm pretty sure. can't remember which piece though.

10 hours ago, Kvothe said:

There was hair pin that was not algin with the staff.

fixed 

10 hours ago, Kvothe said:

There are rest that 8ths rest that should be quarter rests.

fixed 

10 hours ago, Kvothe said:

The 16h note triplets in compound meter might be misleading

changed the run from 16th note triplets to a 9 tuplet

10 hours ago, Kvothe said:

I am going to Scherzo in this case, since the meter matches here. (However, I am not sure...if that composer wrote that way)

for form, it is true that I didn't really think of scherzo while composing 

form: 

Introduction: b.1 - b.50, includes both themes playing against each other

A: b.51 - b.91

Transition I : b.92 - b.117, includes the intro

B: b.118 - b.169

Transition II : b.170 - b.181

Intro*: b.182 - b.223, a variation of the intro

A*: b.224 - b. 251, variation of A with change of accompaniment towards the start.

Transition I*: b.252 - b.267, variation with added trills.

B*: b.268 - b.319

Transition II*: b.320 - b.335

Coda: b.336 - b.359

thanks for the review!! the feedbacks and the comments are really appreciated!! 

Entry:  Daunting Steps - Quintet for Piano, Flute, Contrabassoon, Violin and Cello - 2025 Halloween Submission by @ferrum.wav

Average Score:  10.00

Review:

You’re right - your description of this piece being much more lighthearted is an accurate one.  It is a playful kind of spooky fun!  And the piece coheres well and has very recognizable themes that are well developed and repeated to create a very lucid listening experience.  It is sort of dance like too - very much akin to a Siciliana with its dotted 8th note, 16th note, 8th note rhythms.  It also seems like a kind of variations fantasy which you’re very well known for composing.  There is a great balance of both unity and variety because of this and the piece cements its themes very well into this listeners mind.  The ending is quite succinct but effective!  It’s actually kind of capricious!  Very cute.  Another entry that I simply enjoyed listening to over and over.  The score is well engraved although I would have displayed some things a bit differently to, in my opinion, “beautify” it.  Such as for example some places where you use 16th notes followed by 16th note rests - I would have simply used an 8th note with staccato.  But I won’t count you down for such a tiny nitpick.  As already mentioned it also fits the Halloween theme quite well.  It is perhaps similar in style to Saint-Seans’ “Danse Macabre”.  You also used the instrumentation to your full advantage making great use of the contrabassoon.  Really can’t say enough good things about this piece!  Congratulations!

The instrumentation choice, the mixed quintet, was very clever given you the chance of having so many different combinations and colors with the instruments, so that the excessive occurence of the themes never gets boring or repetitive. I must admit that I have discovered the existence of two clear defined (melodic) subjects only upon second listening (and after reading your form description). Maybe I've listened too many atonal music the last few days.

With this in mind I would consider it as a polyphonic piece – not a classical fugue – but a combination of counterpuntual theme development, variations and free or homophonic intermezzos which creates a rich and interesting texture that lets the long (more than 7 min) piece pass flowlessly.

One of my top favorites.

Average Score: 8.625

Dear @ferrum.wav,

Heads off to this piece you wrote. Full command of motives, varieties in terms of style, mature chamber writing all are present in your work here!

I love the beginning and how you introduce the chromatic motive, as it's accompanied by the tone cluster of piano, as well as the 2nd motive of the dancing motive in b.5. And very nice use of that tremolo too, if adding a sul ponticello would be even better! I simply love how you go from the more atonal beginning to a firming G minor dominant preparation in b.45 with chordal texture, nice combinatio of both tonality and texture for an intro!

Nice imitations throughout the main section, and the glissandos throughout are great. I love you bring the opening in b.92 with a quicker tempo. The modulation to D minor in b.122 is very fluent and I like the 2 against 3 rhythmic figure introduce there too. The climax in b.151 is very prepared with consistent imitations, as well as the cool down. 

I really love J sections with that augurs of dancing motive by Flute, and that nice disturbance with the recurring tremolo in b.206! And the figure in b.212 is naughty! The brillante in b.238 is really brilliant, I would it would be longer! I just go straight to the end. CLearly the end to a Bb minor closure is very CLever.

Beware of the tremolo markings though, the 32th note tremolo should be just written with double stroke if it's already a quaver itself. 

Clearly this one and Vince's piece are both in the very top level. If I'm to judge this whole competition, I will put Vince's piece slightly over yours. In terms of technique you too are great, but Vince's is more heavy in tone which I always like, given how I write heavier music lol! Once again, congrats for writing such a piece!

Henry

Hi Ferrum. 



When I open the PDF window to check it turns out I just cannot. Something's wrong, but not sure if it's in your side or it's the forums, or...  Either way I am very curious about the score, duh.

This seems to me like a small medley (well maybe not small actually) that contains a wide range of stuff going on but that seems to be permeated by this motif that you don't cease to state and use to transition to all sorts of places. It's like a spring, moving slightly upward and returning, giving birth to new passages endlessly.

I must say though that the general feeling this piece gave me was not as concrete as other clear front-runners as you (front-runners to me, obv.). It was enjoyable, anyways!

Maybe my shortest review today, but I cannot really find anything to point out about the piece that be worthy of a line or two more, plus I cannot access the score 😞. In summary, I did like some sections more than others, and I didn't feel it very light to be honest! Maybe when put in comparison, you're right.

Many thanks for your submission, Ferrum!

Kind regards,
Daniel–Ø.

1 minute ago, Omicronrg9 said:

When I open the PDF window to check it turns out I just cannot. Something's wrong, but not sure if it's in your side or it's the forums, or...  Either way I am very curious about the score, duh.

Well the score does show in my side:

10 minutes ago, Omicronrg9 said:

When I open the PDF window to check it turns out I just cannot. Something's wrong, but not sure if it's in your side or it's the forums, or...  Either way I am very curious about the score, duh

try this maybe??

https://drive.google.com/file/d/12Ae39i_u-gnFFMmMTUBYBKnKNEfVpesN/view?usp=drive_link

also fixed the tremolo markings btw @Henry Ng Tsz Kiu

1 minute ago, ferrum.wav said:

also fixed the tremolo markings btw @Henry Ng Tsz Kiu

Wow what a quick response and revision!

3 minutes ago, Henry Ng Tsz Kiu said:

Wow what a quick response and revision!

 

well i was gonna write responses to the replies, as well as fix the errors, might as well :)))

15 minutes ago, Omicronrg9 said:

This seems to me like a small medley (well maybe not small actually) that contains a wide range of stuff going on but that seems to be permeated by this motif that you don't cease to state and use to transition to all sorts of places. It's like a spring, moving slightly upward and returning, giving birth to new passages endlessly.

@Omicronrg9 it is really fascinating how my pieces tend to sound like a medley of unconnected themes to people, purely done by vibes. i assure you, based on the form that i've given, and based on the replies above, that i do state the themes, multiple times, even. maybe it's the accompaniment that's too distracting or too colorful that you don't notice it, or maybe the variations is too distorting, or maybe it's not catchy, or prominent enough? i think i've said this before that i do in fact, sketch my themes wayy before constructing the main piece, and i've tried basically to follow the basic principle of melody or theme writing. here are the first ever sketches of these that I've written in a DAW.

just one line melody and chords. 

A theme:

B theme:

and i also get the whole "what you see in score (daw too) could sound different when score is not present," you'd think you've composed a good melody based on the looks of it, but when you just listen to it without any visual guide, it doesn't catch on. this is why i tried to put many repetitions of figures within the themes itself (as you can see)

38 minutes ago, Omicronrg9 said:

Maybe when put in comparison, you're right.

yeah compared to other submissions, this one's light.

glad you like some of the sections though!! still appreciate the comments nonetheless.

score alt link in case you missed it https://drive.google.com/file/d/12Ae39i_u-gnFFMmMTUBYBKnKNEfVpesN/view?usp=drive_link

1 hour ago, Henry Ng Tsz Kiu said:

Clearly this one and Vince's piece are both in the very top level. If I'm to judge this whole competition, I will put Vince's piece slightly over yours. In terms of technique you too are great, but Vince's is more heavy in tone which I always like, given how I write heavier music lol! Once again, congrats for writing such a piece!

@Henry Ng Tsz Kiu no you're right, when i listened to his piece, it became my favorite out of the submissions.

i also like the fact that the other submissions are so heavy and dark in terms of the atmosphere, and mine is like

wow its halloween spoooky timeeeeeeeee 

1 hour ago, Henry Ng Tsz Kiu said:

I love the beginning and how you introduce the chromatic motive, as it's accompanied by the tone cluster of piano

1 hour ago, Henry Ng Tsz Kiu said:

CLearly the end to a Bb minor closure is very CLever.

the beginning chord is actually the same as the one at the end, a Bbm11(#7,#11) or Bb minor and A minor stacked on top of another

love that you notice the details that i've put it in. thanks again for the review henryy you're the goat

11 hours ago, ferrum.wav said:

try this maybe??

https://drive.google.com/file/d/12Ae39i_u-gnFFMmMTUBYBKnKNEfVpesN/view?usp=drive_link

Worked like a charm, thanks!
The score is very well engraved in my opinion. Not much to criticize there, but I would lie if I told you that I looked at it bar by bar. It's a nice detail that you hide staves that don't play and in this case the use of system dividers comes even more in handy. The ossias are also a neat detail!
 

10 hours ago, ferrum.wav said:

do state the themes, multiple times, even. maybe it's the accompaniment that's too distracting or too colorful that you don't notice it, or maybe the variations is too distorting, or maybe it's not catchy, or prominent enough? i think i've said this before that i do in fact, sketch my themes wayy before constructing the main piece, and i've tried basically to follow the basic principle of melody or theme writing. here are the first ever sketches of these that I've written in a DAW.

I'll merge my reply later, sorry, I just read your reply! 

Not sure what may be the cause of this specific piece sounding to me like I told you.
Don't know if it's too dissonant or not too catchy, maybe for some it's like this but were you aiming at making a catchy fragment? In any case, it's not the most dissonant thing I have listened to neither (by far) the least catchy. 

It doesn't feel disconnected exactly, it's not like you get an A theme, then a wall, then a B theme, and no transition between. There are transitions, some of them do really well, and again I got the feeling that in some way everything feels connected through the main motif of the piece. But I'm listening to it again now and it just may be that. I see that the motif it's so strongly permeating the whole piece that it sort of "eats" the independence of a grand part of the material you have written here.   

I also have the impression that while you give some spaces (4:50~) to let the theme breathe, there may be a shortage of them which may contribute to give that feeling of "medley" (many themes, but originated apparently with some root in common; all played in succession with almost no pause so the public does not have enough time to applaud 😁) and to its weight, despite it being light compared with others' works (add that up to the very strong and tense passages before the end).

Kind regards!

Wow, what a wild ride this gave! Can't get over how great it is, I listened a few times, with and without the score. I think it's better to just listen to this one at first, the score is so detailed and busy that it's hard to keep up for me haha. 

On 10/30/2025 at 11:00 AM, ferrum.wav said:

i was just really going for a spooky halloweeny vibe but not like "terror and dread and killer" vibes. it's definitely lighter than the other submitted pieces.

Really? Out of everyone, I think yours is the one that has it all. Maybe not the most killer, or the most spooky, etc., but your piece captures all the halloweens to me. Your sound samples are phenomenal btw, what do you use? I'm assuming a mix? I've probably asked you before, sorry lol. I'm curious what's out there nowadays (for ease, I stick with Noteperformer/Sibelius just because they're so integrated with each other, but I use a DAW for guitar stuff). I really liked some of the string techniques, the tremolos were hott.  

I think your themes were stated really well, and your harmonic intent seemed clear. Your style is wild, like you tell a story with your writing but the book is Kafkaesque or like Fear and Loathing... you take us on a ride and we're just supposed to buckle up lol. I love it, yours is my favorite!

It was really cool to see the different directions everyone took, I'm curious to see what people favor in the votes. 

19 minutes ago, Thatguy v2.0 said:

Your sound samples are phenomenal btw, what do you use? I'm assuming a mix? I've probably asked you before, sorry lol. I'm curious what's out there nowadays (for ease, I stick with Noteperformer/Sibelius just because they're so integrated with each other, but I use a DAW for guitar stuff).

it is a mix and it's all free:

flute, contrabassoon: Symphonic Sounds (Flute SSO, Contrabassoon SSO)

violin: VSCO-2-CE-1.1.0 (Versillian Community Chamber Orchestra)

cello: Virtual Playing Orchestra 3 (for the tremolo i used the orchestral one cus i couldnt find one for solo cello)

piano: Yamaha C5 Grand-v2.4

do keep in mind that i also manually edit the velocity of every single note and add reverb

37 minutes ago, Thatguy v2.0 said:

I think your themes were stated really well, and your harmonic intent seemed clear. Your style is wild, like you tell a story with your writing but the book is Kafkaesque or like Fear and Loathing... you take us on a ride and we're just supposed to buckle up lol. I love it, yours is my favorite!

but yoursss is my favoriteee, i actually got a bit creeped out listening to it. but yeah your description of my style is pretty accurate, no matter how many times i've tried to tone down the wildness, the wildness creeps back

thanks for the comments !!!

1 hour ago, Omicronrg9 said:

I see that the motif it's so strongly permeating the whole piece that it sort of "eats" the independence of a grand part of the material you have written here.   

yeah i could see that actually. a large part of the main theme consists of a downward sequence of the motif. yet, the part that teases it repeats the motif a lot too. so, i get not catching the first statement of the main theme. though i've tried to signal it by putting it after the climax of the intro with dynamic and textural contrast

1 hour ago, Omicronrg9 said:

I also have the impression that while you give some spaces (4:50~) to let the theme breathe, there may be a shortage of them which may contribute to give that feeling of "medley" (many themes, but originated apparently with some root in common; all played in succession with almost no pause so the public does not have enough time to applaud 😁) and to its weight, despite it being light compared with others' works (add that up to the very strong and tense passages before the end).

this is actually parts of my weakness i've been trying to work on: letting themes breathe more with rests or signalling the end of a part clearly. the time limit is also a factor here cus i'd give longer rests to more sections if there was more time.

VERY fun melody, highly original, clear structure and clearly able to create that Halloween vibe in a fun whimsical way! And I love the way you are able make use of your instruments to your advantage to help progress the piece. The breaks in your music also feel natural, and help build the suspense.

Melody and Harmony: Beautiful melody, it's perfect! The supporting harmony is fun, clear, and helps move things along.

Form and originality: Your music reads like a book, it has a clear intro, body and ending. The natural breaks are equivalent to paragraphs, and you build suspense this way much like a novel.

Score Presentation & Playability: Good structure, clear music notation, reasonable tempo and natural breaks all contribute to the high score presentation + playability metric.

Execution and taste: Personally I enjoyed the full piece, and the general mood reminds me a lot of a lighthearted Halloween dance! The breaks in this piece also contribute to the mood changes, which helps accentuate your catchy melody.