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I've made this composition thinking of a castle in the early morning, when all people slowly starts to wake up and start a new day. I tried to use this "morning" feeling, and it also remind me of autumn a bit. You can listen to it here. I hope you like it!

The 13th annual Musicworks Electronic Music Composition Contest Opens August 1, 2023 For immediate release: Toronto, Canada, August 1, 2023—The thirteenth annual Musicworks Electronic Music Composition Contest opens August 1, 2023. We invite you to share the with your readers, audiences, and communities. Our annual juried contest spotlights new musical talent from around the world, offering cash prizes and opportunities to be heard and published. In 2022, we received 179 submissions from across North America, as well as from Brazil, Greece, Ukraine, and many more places. First prize: C$500, a composer profile in Musicworks in 2024, and the composition released on the accompanying Musicworks CD. Second prize: C$200 and composer coverage on musicworks.ca in 2024. Third prize: C$100 and composer coverage on musicworks.ca in 2024. Marcelle Deschênes Prize in Electronic Music / prix Marcelle Deschênes pour la musique électronique: C$300 and a composer profile in 2024. This prize is open to entrants who self-identify as female or non-binary. Compose and submit an experimental piece in any electronic-music genre—acousmatic, electroacoustic, glitch, soundscape, intelligent dance music (IDM), turntable art, or video music. The contest is open to entries from anywhere in the world and from artists at any stage of their careers. Pieces must be previously unpublished (i.e. not released on a commercially available recording at the time of submission). Maximum length: 10 minutes. Accepted file types: MP3 or MP4 only. Contest entry fee: C$30. Unlimited additional entries are C$5 each. All entrants receive a one-year print subscription to Musicworks ($44–$59 value). Contest closes October 31, 2023. Prize details, eligibility, assessment criteria, rules and restrictions, and the entry portal can be found at musicworks.ca Please note: cash prizes and entry fees are listed in Canadian dollars.

15th PIANO COMPOSITION COMPETITION FIDELIO 2022 VIA THE INTERNET 15th PIANO COMPOSITION COMPETITION FIDELIO 2023 VIA THE INTERNET (Divided into musical styles) Entering this competition is very simple, all you have to do is to record your own piano solo composition and send the audio file to one of the following email addresses: concursofidelio@gmail.com You don't need to submit the score, just the audio file. In this competition you are both a competitor and judge, choosing the winner by voting at home for the best work. All the voting results are sent to you via email so that you can check both, the votes given and received by everyone.. During the voting process the contestants also receive comments on their works. The organization has decided this year for the first time the following change in the voting system: The results of the first, second and third round and semifinal round will be decided by the participants, on the other hand the results of the final round will be decided by the participants and also by an external jury of composers. Very important: The composition submitted cannot last more than four minutes and forty seconds. Only the entrants vote to choose the winners. Prizes: 2000 euros and more divided into two categories. Entry fee: 25 euros per one composition submitted. (maximum allowed per category: 5 compositions) 15 euros each submission for two or more compositions You can participate with your name or pseudonym. You must be the author of the composition submitted. The competition is divided into four styles or categories so that you compete against works of similar style: 1. Tonal, Classical, Romantic,Jazz, Impressionist, Ragtime.Minimalist, Experimental, New Age...any style is accepted 2. Atonal, Contemporary (Some Tonal parts are allowed) No matter how far you are. This Competition is via the Internet. Pianists from more than 30 countries join this competition every year. You participate from your house. ENTRIES DEADLINE BEFORE STARTING TO VOTE: September the 29th 2023 Click on the following link to register in case you are interested. You can also listen to the past year's winning works: https://concursodecomposicionparapianofidelio.com With best wishes Antonio Ruiz Asumendi (organizer) Organized by Taller de Músicos y Artes Plásticas, Centro Integral de Música y Artes S.L de Madrid www.tallerdemusicos.com Fidelio edit. Deadline: 29 Sep 2023 Entry Fee: 25.00 Currency: Euro (EUR) Web site: https://concursodecomposicionparapianofidelio.com/

This is a piece ive created over the summer with the assistance of my band directors, any complaints will be considered

I present the first five Symphonic Sonatas - beginning in reverse chronologic order. Symphonic Sonata No. 5 in Bb

I made this composition thinking of a small village in the snow, and I tried to give it some winter feelings. This is my first piece where the time signature change during the song (it goes from 3/4 to 4/4 and then returns to 3/4 quite often), and also my first one with a modulation in it. I Hope you enjoy it! 🙂 The_Bells_In_The_Snow.mp3

The Pancho Vladigerov House Museum announces the Second International SYN(es)THESIS Competition for a musical composition, inspired by a painting. Candidates have the opportunity to choose one of many pre-selected paintings, write a musical work inspired by the painting, and win one of four monetary awards and a recording of their work by the SYN(es)THESIS ensemble. The competition is part of the SYN(es)THESIS Project and is organized in collaboration with the “P. Vladigerov” National Academy of Music and the National Academy of Art in Sofia, Bulgaria. Concept of the competition: In previous stages of the project, 35 paintings, all of which inspired by musical works by well-established Bulgarian composers, were created by young artists studying at the National Academy of Art in Sofia. Each participant at the Composition Competition will choose one of these paintings to serve as inspiration for their own musical composition. All compositions must be 3-10 minutes in length and must be written for one or more instruments from the following list: piano, marimba (or vibraphone - choose only one percussion instrument), violin 1, violin 2, viola, cello, and clarinet. Eligibility: The competition is open to participants of any nationality up to 40 years of age. Submission deadline: September 30, 2022 The jury of the competition – comprised of faculty from the “Prof. P. Vladigerov” National Academy of Music and of respected unaffiliated musicians – will select 6-10 compositions (the works of the “finalists”) to be performed by the SYN(es)THESIS ensemble at a concert in the National Palace of Culture in Sofia on October 31, 2022. At this concert, the jury will select the three winners of the competition, and a vote for the Special Prize of the Audience will be cast. The concert will be recorded, and the recordings will be distributed to the finalists. Awards: I Prize – 1000 lv. II Prize – 600 lv. III Prize – 400 lv. Special Prize of the Audience – 500 lv. Registration – please read the information below: Due to the nature of the project, participation will be granted to candidates only after they register. To register, each candidate must send a message to museum@vladigerov.org, after which they will receive a link to a folder with the images of the paintings. Each candidate will then choose one of the paintings and will inform the SYN(es)THESIS team of their choice, thus “claiming” the painting. Paintings will be distributed on a “first-come-first-serve” basis; each painting can be claimed by no more than two people, at which point it will be taken down. Therefore, candidates are encouraged to register with the SYN(es)THESIS team as soon as they choose to participate in order to ensure a wider array of choices for their own work. Registration fee: 30 Euro (60 leva, payable up to four weeks after registration); instructions on payment options will be sent by e-mail. Each candidate can register up to two times, which would allow them to “claim” up to two paintings/submit two compositions. Registration e-mail: museum@vladigerov.org The SYN(es)THESIS project was founded in 2021. It aims to build a bridge between several arts through a multitude of interconnections, mutual influences, and the juxtaposition of perceptions and experiences. The sessions planned for 2022 include four main components: the creation of paintings inspired by classical music, the composition of musical works inspired by paintings, the preparation of scenes with pantomime based on musical compositions, and the composition of music for a short film.

Hello everybody, I recently started composing some pieces of piano music, the first of which I published on youtube. Being still inexperienced, even though I have been playing the piano for 8/9 years, I wanted to know what you think of the piece, and how I could improve my future compositions. The video is linked below: https://youtu.be/kvqKD72_bvk Appreciate your help

13th PIANO COMPOSITION COMPETITION FIDELIO 2022 VIA THE INTERNET (Divided into musical styles) NEW THIS YEAR: The organization has decided this year for the first time the following change in the voting system: The results of the first, second and third round will be decided by the participants, on the other hand the results of the semifinal and final rounds will be decided by the participants and also by an external jury of renowned composers. Entering this competition is very simple, all you have to do is to record your own piano solo composition and send the audio file to one of the following email addresses: concursofidelio@gmail.com You don't need to submit the score, just the audio file. In this competition you are both a competitor and judge, choosing the winner by voting at home for the best work. All the voting results are sent to you via email so that you can check both, the votes given and received by everyone.. During the voting process the contestants also receive comments on their works. Very important: The composition submitted cannot last more than four minutes. Only the entrants vote to choose the winners. Prizes: 3600 euros and more divided into four categories. Entry fee: 20 euros per one composition submitted. (maximum allowed per category: 5 compositions) 15 euros each submission for two or more compositions If you have participated previously, this year you can take advantage of the following: Paying one work you can submit two works Paying two works you can submit three works Paying three works you can submit four or five works. You can participate with your name or pseudonym. You must be the author of the composition submitted. The competition is divided into four styles or categories so that you compete against works of similar style: Tonal, Classical, Romantic Jazz, Impressionist, Ragtime Minimalist, Experimental, New Age Atonal, Contemporary (Some Tonal parts are allowed) No matter how far you are. This Competition is via the Internet. Pianists from more than 30 countries join this competition every year. You participate from your house. ENTRIES DEADLINE BEFORE STARTING TO VOTE: June the 25th 2022 Click on the following link to register in case you are interested. You can also listen to the past year's winning works: https://concursodecomposicionparapianofidelio.com/# With best wishes Antonio Ruiz Asumendi (organizer) Taller de Músicos y Artes Plásticas, Centro Integral de Música y Artes S.L de Madrid Fidelio edit.

Heya! I wrote this song last week and would love some feedback. Lemme know what you think! Thanks, Clay Link: Also, here are the sheets if interested: https://musescore.com/user/26861998/scores/5005981

This is the music composition done by my son, any review/advice will be helpful

A lot of things happened in life that surrounded this composition. Which ultimately made me give up on pursing composing and abandon music related things for ~2 years. today: 18, doing my second year of maths in university, I looked back and was curious if in some small way, had my thoughts leaked into the composition.

it's the hardest thing i ever did Stop thinking about you You were my addiction More than anyone at all I wish you could see all of that But you have goned You were my brother And you left me with nothing Not even a goodbye I couldn't have survived, Without you, on my life (Huh, uhhh) Now i realize How stupid i was, letting you go And all the verses While i wrote Was hurting See you happy And I, sad But you are my brother Nothing matter I'm glad to see you smile But that's just the way that we have to make But always remember This isn't a sad song Maybe the fact that you, didn't anything wrong Yes, you broke my heart But it is the way You and i separated, From each other (Ouh, ouh) I will just accept that, Even that you are goned, I will always love you Remember, brother my, I always be in your side And i will always be there for you But that's the way But that's the way But that's just the way that we have to make.

Please tell me if it's good, or it's completely garbage. [Intro] Eb Ab Bb Gm [Verse 1] Eb Bb it's the hardest thing i ever did Ab Cm Stop thinking about you Eb Ab6 You were my addiction Bb More than anyone at all Cm Ab I wish you could see all of that Ab But you have goned Bb You were my brother Eb Gm And you left me with nothing Ab Not even a goodbye Eb Ab I couldn't have survived, Without you, on my life (Huh, uhhh) Bb Now i realize Cm7 Bb7 How stupid i was, letting you go Cm And all the verses Cm While i wrote Ab Was hurting Eb See you happy Cm7 Bb7 And I, sad F# But you are my brother Ab Nothing matters Eb Bb I'm glad to see you smile Cm7 Fm But that's just the way Bb7 that we have to make [Verse 2] C7 But always remember Bb Ab This isn't a sad song Cm Cm G base on (b) Eb Maybe the fact that you, didn't anything wrong Ab Yes, you broke my heart Bb But it is the was Cm You and i separated, Eb From each other (Ouh, ouay Ab I will just accept that, Bb Even that you are goned, Cm Ab I will always love you Eb Remember, brother my, Ab Cm I always be in your side, And i will always be there for you Cm But that's the way Cm But that's the way G Ab But that's just the way that we have to make.

I recently finished this composition and am looking for more advice. Considering this is my third piece where I’ve written for Strings, i think I’m getting better with writing for them. I can’t think of a name for it though so please recommend any possible names or ideas for names!

Hello guys! I hope you are all well! I have a question about music composition for games, more specifically, background music. About the shape of the structure: What form is generally used in compositions of music games? Ternary, Rondo, Theme and Variations? About the melody: What style of melody is usually worked on? the system of motive and development as did Beethoven, or Wagner's endless melody? About contrast sections: Do background songs need to follow the same instrumentation from beginning to end?

Hello again, I am returned for a bit from my inactivity period, with a question that I hope will be interesting for you. But first, some context: I am playing Legend of the 5 Rings with a few friends. This is a table top rpg that's based in a fantasy world that takes after a lot of asian mythology, mainly japanese, chinese. I want to give it a try to compose some music that sounds like it belongs in it, but MuseScore has so many instruments that I have a hard time choosing which ones to use. Do you have any tips on what instruments you like to use or would use when composing something to sound Asian? Thanks in advance!

Gisela Paterno shares these four techniques for continuing with your musical stream of thought after a thematic statement. https://www.piano-composer-teacher-london.co.uk/post/the-four-options-of-continuation-in-musical-composition I believe this article can be of great use for a young composer seeking to oranise o structure his or her pieces. The aricle is assertive on explaining these four methods to enable the development of a basic theme. We are looking forward to hear what you think 🙂

Ninth Plant New Music is excited to announce the 35th annual Suzanne and Lee Ettelson Composer’s Award. An award of $1,000 will be given for a new chamber work. The winning work will be performed in the San Francisco Bay Area during Ninth Planet's 2020-21 concert season. Works not awarded prizes will also be considered for programming. This award is excellent for young and emerging composers! Past winners have included now prolific composers such as Mason Bates, Jennifer Higdon, and David Lang. For details and to enter, please visit our website: http://www.ninthplanetmusic.org/ettelson.html Entries may be scored for one to five performers plus conductor. Performers shall be drawn from the core instrumentation of the ensemble Ninth Planet (one player each): flute/piccolo/alto flute clarinet/bass clarinet trombone electric guitar piano violin cello double bass Scoring may include one or two instruments not listed above, including voice(s) and electronics, but must include at least one member of the core instrumentation. There is no limit to piece length. Entry deadline is Jan. 19, 2020.

Hello! I just would like to have some feedback on this track I wrote. I wanted to represent a typical traffic jam situation in a very big city. The piece is written for a large woodwind ensemble, piano and percussions.

Hello everyone I would like to share this melody. Please give me your opinion : Thank you, G.

Hi all! That's my new piano composition called "The Lighthouse". It is slightly inspired by the music of Russian composers, such as Glinka. It follows a rather simple A-B-A pattern. A consists of the main introduction theme, a development and a powerful final theme. B consists of a quiet theme in the Major key and a fast, dramatic theme in the minor key. Thank you for listening! Some Feedback would be nice 🙂 Piece No.4 Op.3 - The Lighthouse (online-audio-converter.com).mp3

Hello, this is my very first composition. I named it 'Relique', planning to release more in the following weeks.... I love composing melancholic piano songs and am starting in Photography. So I tried to combine both together... Any inputs welcome... 😉 Watch it here : Milky Way & Emotional Piano

So after listening to Bach's Cello Suites and his Flute Partita, I figured I would do a similar thing but for bassoon. The fact that I am writing for bassoon is partly why I decided to start with an overture instead of a prelude(French overture if you want to get into the specific type based on speed pattern). That isn't to say that the slow section won't include some fast 16ths but I have been adding long notes as I see fit. I only have 13 measures so far, so I'm not thinking of uploading the piece yet. But I can only use the singing method for the alto range and low soprano pretty much(my natural soprano has gotten limited and squeaky over the years, and not because I overused my soprano so unlike before where I could easily sing up to a high G in my soprano, I can barely get a high C out) which means that as soon as the notes are in the range of a bass voice or a low tenor, I can't use the singing method to check for slur placement at all and in the soprano range, it isn't going to be all that accurate(Not that I would have the bassoon going into a soprano range all that often anyway). And I myself do not play bassoon, partly because the instrument, even at beginner quality is like $3000 worth. Whereas my beginner quality flute, I got for less than $100. That is quite the price difference between the cheapest and most expensive woodwind at beginner quality, excluding auxiliaries. If I did play bassoon at an advanced level, I could just write down the notes that I want without worrying about slurs, play the notes as written, and see where I run out of breath and how I naturally phrase it. The breath and phrasing together would determine where to put the slurs. But because I don't play bassoon, and I don't have a friend who I know is a bassoonist, this method won't work either. So if my vocal range is limited pretty much to alto and low soprano making the singing method not viable for bassoon and I don't play bassoon, nor know a friend who plays bassoon, how am I supposed to determine where to put the slurs in my Bassoon Suite?