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Hello, je vous présente ma dernière composition, achevée hier... (février 2023). C'est écrit sur deux strophes du poème "nocturne" de Stuart Merill. L'effectif est une clarinette soliste, une harpe, un quatuor à cordes, et un petit choeur de chambre, le tout pour accompagner un baryton solo (je chante, car je m'avais sous la main et c'était plus pratique que de faire venir quelqu'un d'autre dans mon petit bureau home studio)... bonne écoute ! J'ai hâte de lire vos conseils. EDIT Ohhh Sorry ! In English ! I present to you my last composition, completed yesterday... (February 2023). It is written on two stanzas of Stuart Merill's poem "nocturne". I is written for a solo clarinet, a harp, a string quartet, and a small chamber choir, all to surround a solo baritone (I sing, because I had myself at hand and it was more convenient than bringing someone else to my small home studio office)... Good listening! I can't wait to read your advice. (le visuel est mon manuscrit photographié en macro. J'utilise ce genre de visuel pour mes dernières compositions).

Hello. Im new here anFar Away From Shore.pdf Far Away From Shore.mp3 d this is my latest work. I welcome all your suggestions. Thank you.ngege

1st movement only so far (started June 2022, finished December 2022), will probably be several years before completely finished. 693 measures, 21 minutes, based on 17 random themes Scoring: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons 3 horns, trumpet, trombone 2 violins, 2 violas, cello, double bass Piano, harp

The staff here at Young Composers Forum thought that it was time to lay down some somewhat general guidelines about how members here might qualify to become reviewers and/or judge Young Composers competitions. Here they are: The most obvious thing you can do is to consistently on at least a weekly or bi-monthly basis, impartially and informatively review others works here on the forum! Share your experience about what works musically, your personal musical tastes pertaining to others compositions and any technical features and helpful observations you have! Be able to musically appreciate a diverse set of different musical styles. This does not mean that you subscribe to any particular style in your own compositions, but that you are able to accept each composition on its own merits and according to the composers intent. Being able to appreciate diverse musical styles does not mean that you can't have a certain specialty or niche in which you have gained bonus knowledge and experience. We hope that you'll share those things with the rest of the judging panel as well as your fellow young composers on the forum! That is also the reason why a bigger judging panel will benefit the competition entrants - because they will offer a more diverse set of sometimes convergent and sometimes divergent musical opinions on the submitted music. Be ready to use the following judging criteria to make your reviews more objective: Melodies/ Themes/ Motives Harmony/ Chords/ Textures Form/ Development/ Structure/Time Originality/ Creativity Score/ Presentation Instrumentation/ Orchestration/ Playability Execution of Given Challenge Taste The reason for guidelines 1 and 2 above should be obvious. The staff and your fellow Young Composers need to know how you judge and review other members works and whether you can be relied upon to judge impartially. The guidelines for becoming a reviewer transfer also to becoming a judge for the competitions. Competition judges need to have staff privileges in order to be able to view the (hidden until the competition deadline passes) musical entries to each competition. As Young Composers Forum builds a bigger active staff, some reviewers might not need to judge every competition if they don't have time to review or if they'd rather participate in the competition themselves. (Edit) P.S.: The reviewers and staff are also expected to keep a clear line of communication with each other and daily check their messages both on Young Composers Forum as well as the dedicated staff discord server. Without the ability to communicate promptly with the reviewers of the competition, the staffs confidence that the respective reviewer will properly fulfill their obligations towards the competition is diminished. Young Composers Forum Staff

Good afternoon everyone! I thought I would share a short piece I wrote a couple of years back: Brass Quintet No. 1. At the time I wanted to take a break from large scale pieces and just write something fun. I also have never spent much time on chamber music, so it was fun to do something different. The piece is in two sections: a fanfare-like section, and a staccato 6/8 section. A few questions for feedback: What effect does the music have on you? Does it conjure an image? Or a feeling? What was your favorite part? Least favorite part? Do you have any comments or critiques on technique, e.g. harmony, melody, counterpoint, voice-leading, etc.? How about the overall form? Is it effective? Do you have any comments on the quality of the performance in the audio file? I want this to be as good of a representation as possible, so feel free to point out any parts that sound unrealistic to you. How well does this work as a brass quintet? Is there another ensemble it may be fitting for? I have included a score, any feedback on its presentation? Are there any composers this reminds you of that I may enjoy listening to? Sound libraries: all are Spitfire Symphonic Brass Thanks for listening, I hope you enjoy!

Double fugue in g major. Free fugal form in the mid italian school. Inspired by looking at my two sons interact. Subject 1: William (0,5 years old). Calm and majestic subject. Subject 2: Jonas (3,5 years old). Energic and moving forward. Please telle me what you think. SimenN

I also like it very much. I think the piece has influences from impressionism. Beautiful.

Would these dynamics work for the first exposition, m66-104?

Quite an amazing piece into which a lot of thought has gone and care in the rendering.... the hallmark of a composer with practical orchestral experience. Notable is your way of doubling, always seeming to be effective to create different timbres as much as for reinforcement (the opening bars are a great example), Clear layout of chords, sensitive attention to articulations and thematic development is beyond criticism (to me). Excellent work. Exemplary. Cheers.

Hello and a very big thank you. Very happy that you like it. It's been a long time since I tried this kind of poem set to music for one voice. As said above, this piece could also have been simply accompanied by a piano, and moreover I think I will make a reduction of it (usually the opposite, I rather do an orchestration, but here, I wrote directly for the set). In order, it was the vocal line from the poem, with ideas of harmonization, then the chorus part, which is a fairly static expression; then the harp that integrates a pendulum movement, then the clarinet part (I initially imagined an English horn, but the clarinet imposed itself before writing the line because finally the English horn seemed to me to convey this cliché of nocturna) So I wanted to explore its expressive potential that pure classical style uses little or not (the vibrato, excessively blown sounds, everything that lies more in the idea of improvisation). And finally, the whole seemed to me to be more homogenized with a sound heart on which to aggregate all this and the string quartet was necessary. He takes up the main lines of the vocal choir, Support him, but sometimes escapes to light more extensive registers (and a few violin jumps)... For the form, it is just variant strophic, with a bridge that allows the two stanzas to be joined, witch are preceded by a few intro measures and a small coda follows. The role of the clarinet, at the melodic level, as you have noted, is to embody the night bird of the poem (a Nightingale owl in need of love). His scrolls are inserted like improvisations (free but written) to prolong or emphasize certain words. It is written on a basis of varied (and sometimes distant) appoggias around the harmonies it overlooks. I plan to write one or two other small miniatures of this type on very beautiful other poems by the same author, perhaps varying the instrumentation. For now, I'm in the research phase. (and I have to clean up my manuscript on Musescore... If only to properly validate the few acrobatic slides of the harp pedals by my daughter, who is harpist!) But my work will leave me little time in the coming weeks... In any case, thank you for your welcome, your very kind comments. No problem sharing my work on Tweeter! (It's even an honor).

Hi everyone, I began a string quartet between the 2nd and final movement of my piano concerto to take my mind out of it. This is the first time i compose seriously for string quartet and would like to know your thoughts... There is only the exposition of the first movement

This piece is mostly based in D Major however changes key a little bit, it has moments in G major and even some moments in E Major. I am trying to think of a different type of finish than what I usually compose, this composition finishes in G Major a bit differently, it builds up using the maj4 chord and then the maj5 chord or a dominant 7 chord that then resolves to G major a little bit awkwardly for my own composition but it does resolve in the end. Thanks.

This is powerful. Your voice is not only nice but if fits with all the sound you created. Won't insist on the score (I would like to read it too, though). I also subscribed to your channel, obviously. Would you mind if I shared this with my friends and in my (empty) twitter? I honestly don't think I can give you any advice of use, not for this piece at least, it was just delicious. Thank you for sharing this and welcome to the forums! Salut, Daniel–Ømicrón.

Not buyin' this mate, who doesn't know that cats are much more intelligent than mere human beings lol!!

And lots of improvement have been done already from what I listen. Not gonna repeat the advice, just passing by to give my support in the form of a comment. The last movement was not so convincing though (to my ears). Also: Not buyin' this mate. My cat produces, thinks, conceptualizes, and crafts more when it "meows". That doesn't mean that I not be a big fan of this particular piece though, lol. Kind regards, Daniel–Ømicrón.

Hi @Krisp, As @ComposaBoi noted, very refreshing harmonic language which fits the night mood! It's not completely atonal and is quite Bergian with some occasional tonal harmonies. I enjoy your combination of instruments and voice. The clarinet is the best choice of the winds here with its mellow chalumeau and blues sound. You singing is very professional for me and I love your baritone voice. It's fuller than a tenor but not as deep as a bass (yeah I am a bass), and here the range fits well with the not-too-agitated high register of the baritone while still expressing the dark mood here. I am not familiar with any French literature nor anything French itself but I love this! I've just subscribed to your channel and there are quite a number of videos there! Thanks for sharing! Henry

Crikey! Thank you all for listening and these comments. You have been very kind to me with your comments. I had misgivings that it wouldn't work well but now feel slightly assured, ready to go ahead and prepare a final score with all the transpositions in. Many thanks indeed, Luis. Thank you indeed for listening and your comments. Yes, the score is at concert pitch except as mentioned just above the Tempo mark, first page above the piccolo staff. After a final clean up I'll transpose the parts properly. The Contrabass Clarinet is written an octave higher than concert. I hope I didn't seem selfish by not writing these parts (and the rest) conventionally transposed as this is a kind of penultimate draft and easier for me to check. The last thing I want is errors that should never be there, like leaving in keyswitch notes...well, it's happened. I have to feel assured that I know the score very well as...well, remote as it might be, should it ever be offered a chance of performance I don't want to be caught out. Flattered as I am by your mention of John Williams, I'm really not familiar with his work except through the Indiana Jones films which I've just checked he scored. Be nice to have his money though! I'll have to give that one more thought. Hah, I forgot I left that exhortation in at the end of the score. I'll pop into the software after replying here to erase it. Once more, many thanks, much valued. Henry, many thanks for your considerations and listening. Yes, I prefer the contrabass clarinet as I sometimes write very deep and quiet bass wind parts but there's no way a contrabassoon can play its lowest notes quietly, starting from and fading out to a 'niente'. The contrabass clarinet can more or less. Just a guess but if my exploitation of colour is noted it's probably because I value instruments in their own right with their range of timbres, each called in when the occasion seems right! The contrabass clarinet is a case in point. There were times in this piece when its solo line seemed right-on - an indescribable sound! As for Webern I see what you mean and in terms of orchestration I suppose, yes, pointillist rather than like the organist, playing whole passages with a fixed set of stops. If you need just a dot of a certain colour then bring in the instrument just for one or two notes. . Really appreciate your comments. Thank you for listening. . Thank you indeed, Thatguy. You've been most generous with your remarks. What can I say in the way of appreciation? - A bit lost for words. However, it's pleasing to know that it made some sort of sense to you. I had some trouble composing it, wanting to move on from previous work which was starting to get repetitive. It's going to be harder to move on from this one. It is the most recent orchestral piece. I just call them all Music for Orchestra now but I've written several over a few years and still have to decide which to keep. I still have a heck of a lot to learn about the orchestra, balance, timbres, articulations and so on, and what I can do with the samples at my disposal. So, thanks again for listening and your most encouraging comments. All the best, Quinn.

This is great and could be used (not mandatory) of course for regular comments on compositions. Outside of the contests, it can even be evaluated qualitatively such as "what I like the most", "I like the least", etc...