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Hey @SorooshMHS! Very well done! I like the mood and harmonies a lot! Its minded to be incidental music? It sounds like an ost. Here are some recommendations: - In sections that are more percussive (as in 0:48) i think that rythmic strings would fit more. Check https://youtu.be/243Uguc-6mQ 0:28 as an example of incidental music and https://youtu.be/QElT9KD4uX8 11:10 as an example of non incidental music. - This has some celtic vibes, maybe an alto flute or more exotic woodwinds would add a lot to the music. Check https://youtu.be/CrcWtQXlonw Herman Beeftink work's, you'll learn a lot about wind instrumentation. - If you share the score it would be easier for us to help you with harmonies, motives etc..., but you did pretty well melodic development here! Hope I helped! Samuel

As I may have mentioned before, one of my specialties is writing for unusual combinations of instruments. Here I have written a four-movement quartet for a rare ensemble consisting of 2 Oboes and 2 Bassoons. I tried to make all the parts as equal as possible. I realize much of what I've written is challenging, but I have shown this piece to professional musicians who have assured me that there is nothing here that is beyond the pale. The opening movement is a standard Sonata-Allegro. I reversed the traditional order of the inner two movements so that the Menuetto is second, and the Adagio ed affettuoso is third in order; I feel this Adagio is one of my better slow movements, owing much to Mozart for its styling. The final movement is unusual in that it is a sort of fugal Sonata-Rondo, with chromatic contrapuntal sections interspersed with contrasting material. ***** Quartet in A minor for 2 Oboes and 2 Bassoons (2019-2021) - Composed: December 27, 2019 - April 6, 2021 at Austin - Style: Classical, ca. 1790-1800 - DuratIon: 24:30 I. Allegro non tanto ma con fuoco (00:00) II. Menuetto: Allegro (08:20) III. Adagio ed affettuoso (12:10) IV. Tempo giusto alla breve (18:35) - Electronic Rendering by Finale 26 music notation software "Human Playback" with NotePerformer 3 artificial intelligence assisted interpretation.

Here comes the 3rd movement. I needed to post this so I can move on with my life lol. Links to previous movements. Hope you would enjoy and comment. Btw I should hold my promise, see if I can tag you @Awsumerguy

Hey guys. I've been a guitarist for the majority of my life but composing for an orchestra is relatively new to me (I've been doing that for 2 years give or take). I wrote this piece a few months ago, and it has strings, woodwinds, piano, and some percussion. I hope you enjoy! I wasn't able to find the audio file so I'll post the Youtube link instead.

Yup that's the song! I think as long as there's originality in it, in this case reharmonization, there's no copyright issue🤣 It's hard.... Definitely! Henry

Ah shoot I thought I sealed every hole 😪 but yeah too late now lol. told you guys it was brute force counterpoint 😜 Anyway the video game theme is modified, say no to stupid copyrights I guess you are thinking of “deck the halls”? But actually it’s from a school I attended when I was young. And reharmonisation is good because I can copy and paste half the material 😂 thanks for review and adding some publicity

Hi @Henry Ng Tsz Kiu Thank you! Here is an mp3 recording of my piece. The intention of the piece is atmospheric, with the intention to create a broad soundscape within the framework of notes found in the music🙂 José

I'm in. I'm a new member so I went ahead and posted one of my pieces right here And I just have 2 questions. 1. When you say, 1 monophonic instrument and 1 polyphonic instrument, is layering allowed? For example, if I choose to write a guitar and violin piece, am I only allowed one layer of each? Or can I have, say, 3 guitar layers and 2 violin layers (for example)? 2. Are synths and other electronic instruments allowed?

Hey @PCC, That's a fascinating movement and playing for me! The movement looks monstrously hard for me, and even there are slips in your recording it doesn't mean anything for me. What's important is that you successfully realize your music to the world and share it to others! Congrats on that! The Scherzo I is indeed fiery. The fugal like counterpoint here is really funny and vary the texture here. I really love b.53, when you defy that Gb minor chord with one simple dominant chord. Amazing there. Maybe only b.23-24 I feel slightly off with the parallel fourths even though it comes from previous movements. Possibly adding a top voice with thirds btw the middle voice and sixth btw the lower voice to form a faxbourden will be great! For the trio I, is the theme come from a famous Christmas Song??!! I remember the tune is A-G-F#-E-D-E-F#-D and even the rhythm but I forget the name at the moment lol. But it combines with that fierce octaves with good effect. It's interesting that you use the tune with different harmonic progression there, and it's very creative to use this technique of re-harmonization. The beginning of the Trio II immediately reminds me the middle section of the third Scherzo of Chopin. I don't know the theme since I seldom play game lol. It's creative to include inversion in your double, but beware of the parallels like in b.266-267, And the ending is very brilliant! I like this! Thanks for sharing your work as well as your marvelous recording here. I really appreciate that! Henry

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