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It depends on lots of things especially tempo, dynamic and phrasing and how it connects to strong and weak beats. One could start with not exceed the bar with a slur and not have two identical consecutive pitches in a slur. Like in this piece between bar 1 vln1 D5 and bar 2 vln1 D5. Either that's a tie meaning one long note equal to 6 beats or it's two separate bows (it doesn't mean it's not legato though). Also a notation tip for Sibelius here: When inputting dynamics make sure to hold down cmd (or ctrl on windows) whilst typing 'p' or 'mp'. This makes it the right typeface and makes it play back correctly.

I'm going to give some non-classical examples, in no particular order. Since I'm old, jaded and the childlike sense of wonder has been beat out of me long ago by the woes of modernity. Anyway, here's a few that still give those "chills of wonder" from time to time. I'll start all clips at the relevant spot. 1. When this Duduk solo ends and that woman begins singing over that guitar and ethereal pad. 2. When sh it gets real in Mairead Nesbitt's violin solo 3. The masquerade ball...and that haunting, distant, singing.

There are many moments for me, too many, in fact, for me to remember, but I'll list a few of them. In my eyes they're all equally beautiful, so I wont give them any ranks. -Philipp Scharwenka: Piano Quintet in B minor, Op. 118, mvt. 2: recapitulation and coda. Scharwenka's Piano Quintet is a masterpiece in its own right, but that section in the second movement has to be the most beautiful one in the entire piece. All the section really does is repeat the first subject in a different orchestration, and then blend the first and second subjects in the coda in a sort of condensed format, with the strings muted. But what makes the section in that movement so gorgeous is how it's orchestrated. I can't explain it in words, it's just so beautiful. Honestly, I'd recommend checking out the whole piece, but especially the second movement. -Richard Wagner: Liebestod, from Tristan und Isolde: grand climax. For me, this piece is beautiful beyond words. Everything is paced so carefully, the orchestration choices are phenomenal, and then the peak, after the perfect pace, gives me goosebumps. Also, those special harmonies unique to that opera are just incredible. I wont say much more, because I'm sure most of you know that piece very well. I'll just close this by saying that it has to be one of my favorite pieces. -Toivo Kuula: Piano Trio in A major, Op. 7, mvt. 3: entire movement, but especially G-sharp minor (middle?) section. This rarely-played piece is, in my opinion, one of the greatest works in the entire piano trio repertoire. Unfortunately, it's extreme length (50 minutes) prevents the work from being performed as often as it deserves. The whole piece is fantastic, but my favorite movement from the work has to be the 3rd movement. This movement is one of the most tragic pieces I've ever heard. The key is in F minor, and begins rather mysteriously, with octaves in the piano, followed by the violin and cello playing a poignant melody in unison. After this comes the main theme, a very romantic and passionate melody. The theme gets played around briefly, before being transited into a section in G-sharp minor, with descending scales in the right hand of the piano, while the strings play a tragic variation of the theme, all fortissimo. The opening of this section closes with dark chords in the piano, followed by a section with lighter chords in the piano, while the strings continue with another variation of the theme. After some time, the piece repeats, the same exact musical format, just with the keys flipped, and slightly condensed. After the peak plays in F minor, the piece ends with a coda very similar to the opening of the piece, just with the orchestration reversed, the piano having the haunting melody, and the strings playing the mysterious octaves. The piece ends with a slower version of the main theme, combined with the old melody at the same time, before the piano ends by playing the octaves (which are on C instead F, giving movement a haunting close).

This is difficult to answer, as there are many individual moments that appeal to me deeply for different reasons. But at this point of time, I'd rank the most enduring moments as follows: No. 3: Retransition passage in the slow movement of Shostakovich Piano Concerto, Op. 102 This movement beautifully captures musical simplicity, which to me is among the most difficult styles in which to write effectively. Too often, composers who aim for this style write music which is actually simplistic. There is no depth or substance to it beneath the surface. Not so in Shostakovich's work. His subtle contrast of major and minor throughout is what appeals to me the most, and specifically the transformation of the piano's initial melody from peaceful major (1:15) to deeply painful, lonely minor (4:20), followed by a profoundly hopeful return to major at 4:55 never fails to move me. No. 2: Opening of the slow movement of Barber's Violin Concerto, Op. 14. Barber is my favourite composer of the 20th century, as he was courageous enough to resist those (as best he was able) who pressured him incessantly to stop writing the music that spoke to him - that is music of earlier times. It was difficult to choose a favourite from this master, particularly because I find the opening of his Piano Concerto to be equally stunning, but the transcendentally beautiful oboe solo at the very beginning of his violin concerto slow movement won the day in the end. With most melodies, the poignancy is lost somewhat with repeated hearings. You can never capture the bliss that you felt on initial exposure, even if the work still moves you. That is why this particular movement made my list. I have probably heard the opening oboe solo a hundred times, and to this day it moves me as though I had never heard it before. Few composers have a gift for melody like this. No. 1: Brahms Violin Sonata, Op. 108; first movement, development and coda Brahms is my favourite composer in an overall sense. He mixed a great talent for melody with the formal sophistication and ingenuity of Beethoven. For me, this means that his sonata-allegro movements are captivating throughout. The lyricism of the exposition and recapitulation are balanced with the formal sophistication of the development. And of all his developments, the one that has always stood out to me as stunningly brilliant is that of the third violin sonata (2:25 in my clip). It is basically a giant dominant preparation over which a series a magical harmonies slide about. In a sense, functional harmony is entirely suspended in this section, but without losing a sense of direction and evolution. And as in the Shostakovich, the conflict between major and minor/dim7 sonorities is highly appealing to me. The coda, beginning at 6:55, is equally spectacular. Returning to the development material's magical harmony and ending with dropping open fifths that give a sense of multiple instruments, it concludes inconclusively in D major, which will carry forward into the slow movement (a stunning movement in its own right). In spite of finding countless moments of great beauty, in all the music I've heard in my life I've never found another development or coda like this. This particular combination of pedal point harmony, major-minor conflict, and formal sensitivity produces an entirely original effect.

thank you, I can't provide a score, the instruments are accordion, 2 violins, piano, glockenspiel and a cello

I like this kind of short pieces. The thing is I understand a study is a development of something (motives, harmony, rhythm) but here you write a kind of exposition and no more. The second, for instance, seems the first phrase of a ballad. The third looks like a study. Anyway, good music.