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I haven't looked at composition in almost a decade, but a few months ago MuseScore 4 (which I'm still figuring out how to use) was getting good reviews and I wanted to try it out, and I've been picking at this ever since. I'm only a few drafts in, and there are many things to fix, and the score needs editing, but this is more or less how I want it. The Overture describes a struggle between Knife Rat, Murder Cat, and Good Doggo over a slice of pizza. It's structurally very simple: Knife Rat 1 - Pizzeria in the City Murder Cat, Personality 1 - My Bam is Boozled That They Took My Pizza Good Dog - Who Rightly Deserves All the Pizza Murder Cat, Personality 2 - My Flabber is Gasted That They Still Have My Pizza Knife Rat 2 - Murder All the scallopes Who Want to Take My Pizza All suggestions welcome. you might have to turn up the volume a bit high to hear it well.

Hello Henry has much more experience in this style, so there is little I can add. But I would like to comment on one particularity of this piece and that is that it sounds quite "mechanical". And the reason, from my point of view, is this: the whole length of the score is dominated by a constant eighth-note rhythm. It is true that in some parts some suspensions and a crotchet pattern are introduced, but without abandoning the former. I think this can be modified by working a little on the variation of the motives.

I felt a bit miserable, I hit record and improvised around a theme that suited my mood. Listening back, my ears wanted to hear the rising staccato motif played in counterpoint which would have sounded cool i think. The second improv is short and sweet, it sounds familiar somehow and it got me thinking about where in my mind the music comes from. Just as our personalities are a mixing pot of every person we've interacted with, our speech is like a kaleidoscope of all the conversations we've had, our music when played on the fly must be like the twisting of a kaleidoscope where all the colourful pieces are just getting mixed about.

Here is my 11th bagatelle in c major. I choose the harpsichord sound because I like it better! Enjoy!

Well! Impressive! Intensely emotional and proto-Romantic-to-Romantic. This piece reminds me of Hummel in many places. Have you studied him at all? Some of the styling and virtuosic demands are reminiscent of him to me. In my opinion, titling this piece ( ) does it a disservice. This is a Fantasia. Might you consider renaming it? Again in my opinion, the final section in E doesn't quite fit. It might have been better to leave it in C minor or move to C major and end it similarly in that key. But these are minor quibbles. Whatever you do, or call the piece, it's a wonderful expression. My compliments!

Dear Henry, I really appreciated the thoughtful comment. I will probably go with a new fugue instead of reapering endlessly this one. I found really few information about fugues. Can you recommend me some website or book wich could help me even in the month left until my deadline? Thank you again, Zsombor

Thank you for the comments, especially for the suggestions! I worked with it, I hope it became more stylish and more compact. Feel free to share thoughts about it, I still have about a month until the deadline.

Here it is, as short as possible to say something.

Thank you for your comments and time. Yes, sometimes you have to take a break from all this activity, it depends on other obligations. Regarding music, I think that everything you learn, whatever style it is, is positive and if we know how to process it properly, it will help us to compose. At the end of the day, although music throughout history has been changing style, sometimes with radical twists, it is also a linear process and always the music of today is based in part on that of yesterday.

Hello @Ivo, Welcome to the forum! This is a real great descriptive music describing the pizza-chasing scenes! Real funny music to listen to! I love the andante section very much even though I feel like it's more allegretto there. Your orchestration is great: Your strings are the real backbone of the orchestra and the lower strings provides good accompaniment to the music with those chasing notes. The woodwinds are sharp and punching and I hope you have used the E-flat clarinet here! I love those altissimo passage like b.25 as it's real funny here. Your brass is forceful like in the opening and they do create climax here and there. Those percussion add many color to the music like glockenspiel and the bells in the slow movement. I like your tremolo usage in the adagio section as it's add underlying tension to the apparently less dramatic music. The structure here is interesting as you are having a hiatus of fighting but there are always fights bursting out of a sudden with those ff passages. The allegretto sections is lovely with those woodwind solos and the trills are humourous. The last section is close to the first section since they are all called "Kinfe Rat" and again the excitement level is high up to the end. Your style reminds me a composer named @Krisp here: (Make sure to check out his stuff!) Well the opening is quite a burst!! I have turn it DOWN immediately with those brass sections! Thanks for sharing your music here and joining us! Make sure to visit other members' posts and possibly review them! Henry

Haha thx Gospel! 💋

Oh my, I gave you some points lol

Please give me reputation points for that as I don't want to be in that 444 points condition now!! LoL (4 means die or death in Cantonese LoL) Henry

Thank you very much Henry for taking the time to listen to my music and for your encouraging comments. I decided to play around with the theme of the second improv with a bunch of variations. I sometimes do this to warm up my fingers and its a little noisy. Apologies for my daughter interrupting with crinkle crackly noises in the kitchen.

I use Sibelius 6 on PC and Sibelius Ultimate on IPad so no problem for me haha! Henry

Dear @dormanzsombor, I think there are many octaves in the chords. E.g. b.5, 6, 7, 8 the strong beats are in octave. This can give audience a feeling of parallel octave doubling even in the quaver level it's not, and it makes the sound less full. Staring from b.21I see you try to use inversion which is good, but it gives me a forceful feeling since the melody is not very singable when inverted. B.26 is quite weird for me as you are going for A minor without an A in the first two beats but then suddenly go to C minor in the last two beats. The progression between b.27-28 is not quite reasonable with a C minor directly modulates to E minor and it's definitely not Baroque in style. B.29 you are having the dominant of E minor in the first two beats, then suddenly to G minor in the 3rd beat and dominant of C minor in the 4th beat with Bb and B natural clashing each other. In b.43 the C minor is suddenly dropped and G minor comes back with no preparation. It may be personal, but for me you are writing under the shackles of counterpoint rules. You try to prevent those parallel octaves and fifths which is good, but it limits the voice leading and makes the voices move in a strange and not fluent way. Thanks for sharing and hopefully I am not too nitpicky! I am sure I write worse fugues than you in my first few attempts! Henry

Dear @dormanzsombor, Welcome to the forum! For me the minuet is quite pleasant! The cello arpeggio marking in b.5-6, 19-20, 38 is quite unidiomatic writing since for double or triple stopping of strings the notes are written out without the arpeggios marking. I'm also not sure whether the triple stopping in b.5-6 and 19-20 can be played at all with the three notes holding. Maybe cellist can help! But if you want to play safe you can have broken chords there. For me b.9-14 the contrasting section of the minuet is not contrasting since it remains in the dominant key. You can venture to more remote keys like the other closely related keys of B minor (supertonic minor), F# minor (relative minor), D major (subdominant major) before returning to the tonic A major in the reprise! I love in b.31 where you have interactions between the two flutes. You can for sure add more interactions between the instruments! Also giving the cello some melodic significance will be good as well! Is the instrumentation set by the academy? Why will you choose this particular combination? By thinking this you can give more colour to the piece! It really depends. If there's no time limit for the piece and you want it, why not? There are many elements that can be varied later on! Thanks for sharing and joining the forum! Henry