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Hello to the whole community.😃 I am a composer of classical vein. Sometimes I’m told that my style is a bit outdated, but no matter, it’s my musical vein. I would be grateful to exchange with composers like me, a little 'out of the present time'. Thank you very much. 😀

So here is a piece for trombone quartet that i just finished writing. It is a compilation of some moments in the epic poem The Epic of Gilgamesh and it is my submission for a competition. I would like some opinion and, if there is some error, either in notation or in other aspect, i would appreciate the notice very much. Hope you like the piece.

Last year, I came across Sara Teasdale's poetry and a lot of what she wrote about on love, beauty, fear, even death resonated with me. What really peaked my interest was her poetry book of love songs where she expresses her ideas and beliefs about what it means to be loved and to love. "Child, Child" is a heartfelt ballad set in the key of D-major with many legato phrases. The opening theme is the driving point that follows the piece through the beginning, middle and end and changes meaning through each repetition. I use it to tell this story of romance sweeping us off our feet in ways that feel enchanting, and breaking us down when we least expect it. Yet, through it, we still find the courage to love and start anew time and time again. Love--be it heaven or hell--is to hold dear and to cherish. After a pretty rough time last year emotionally, Teasdale's poetry gave words to my feelings and inspired me to write. I hope this piece resonates with you as well. Please enjoy <3. Also Happy New Year!!! Text: Child, child, love while you can The voice and the eyes and the soul of a man; Never fear though it break your heart -- Out of the wound new joy will start; Only love proudly and gladly and well, Though love be heaven or love be hell. Child, child, love while you may, For life is short as a happy day; Never fear the thing you feel -- Only by love is life made real; Love, for the deadly sins are seven, Only through love will you enter heaven.

This piece is called "Fortitude" for the fact I've developed an amount of it through my years on this planet (or should I call it an 'insane asylum' flying through space). I've been away from YC for a long time - several life changes, medical, and financial issues. The '173' refers to the version of it. It's not really meant to be in the title. I continue to use a large palette of sounds. I use several Virtual Instruments, plus some sounds from sample libraries, and even more exciting 'physical modeling'. The footprint for these sounds is minuscule. Using a Mac Studio 2024 and Logic Pro 11.2.2.

Hi! This is the third movement of a song cycle that I wrote from January to April of last year (2025). Each of the five movements is a setting of a different poem by Sara Teasdale, and together create a suite of nocturnes. This is my personal favorite of the set, if there is some interest I may upload some of the others, as there are strong connections between each of the movements. This song is in a three part form, where the second and third parts develop material initially heard in the first. In this piece, the primary material being developed is the piano ostinato heard right at the beginning. Please let me know what you think!

Happy New Year to all! For my first post of 2026, here's my orchestration of Medelssohn's Barcarolle from Songs Without Words. It's more or less done; though I may add more dynamics to match the original piano work, and need to add more slurs. Current dynamics are intended for midi playback: so I will be adjusting those for real life performance. Haven't decided where to mark a2 and solo in the winds: so any tips on that would be really helpful.

Hi guys! Hope you're all doing well. So, I wrote a poem two months back, and whilst I did, I also made a melody out of it just because lol. So, I thought it had the potential to become an art song, so I composed it. By the way, this song just contains the first stanza of my poem. Do you think I should make more songs for each stanza to do like a song cycle or something? Anyways, I sang this myself because I find vocal soundfonts to be... nauseating. Anyways, I am no singer, so try not to roast me too much for my voice lol. Do tell me how you like it, or if you have any suggestions.

Hi @ComposedBySam! Really like your poem, piece and singing! I like the occasional short imitations between parts like in b.9 or b.17 which strengthen the chasing theme. I really like the "dismantle this church that bows before strife" lyrics when you really dismantle by getting up an octave and ends on a high register, and then a half cadence which is resolve sacarstically to A minor. Wonderful job here. And also the "sacrificed in vain" lyrics when the voice ends in confusion with diminished 7th chords and the voice breaks off! The F minor modulation in b.47 is wonderful when it's matched with "grave" in the poem! A wonderful lied in my opinion. I think you should definitely make more lieder out of your poem, instead of having a strophic setting, because your through composed technique is wonderful and well matched with your lyrics! Thx for sharing! Henry

Never use or heard of these 2 books so no debate lol!

Hello, I recently finished a piece, Introduction and Waltz, and am wondering if the score is MOLA ready. I'm submitting to a competition thats due on the 10th (parts are not required til a later date). Thanks a lot and feel free to also listen and give feedback!

@Aiwendil Exactly. Those who favor AI do not want it monitor and regulated. But there was incident in holiday contest where someone used suno. Imagine Suno was used in real life. Then what?

“I’m beginning to write a small oratorio, Everywhere there’s notes! Take a look at the fifths and tenths, some intervals are immense, At half past three my laptop screen’s aglow!”

In the light of Suno usage on this forum, I found this video: Suno warning

R# Major

Hello everyone! Time for hot debate. Which book do you use a reference when use check your engraving? Behind bars or Stone's and why?