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Multiple users have inquired about the next competition, so that warrants a new Summer 2026 Competition Poll! The poll will close on Wednesday, July 22nd at 11:59 pm PST. Here are the givens that each competition will maintain: The duration of each piece should once again be between 3 - 7 minutes. Reviewing the entries will once again be spearheaded by the members/competitors at large. You are free to use the Official Competition Reviewing Template or you can review the entries in any way you see fit or create a template of your own making! There will be tiered "Ardent Reviewer" badges given out for this event: Featherweight Reviewer - for reviewing 33% of the entries Welterweight Reviewer - for reviewing 66% of the entries Heavyweight Reviewer - for reviewing 100% of the entries We are instituting a policy of not allowing any AI generated works in the competition. Because of this you will be required to detail how you created your piece and submit a PDF score or midi file for the perusal of the staff and members at large. The musical entries to the competition are final once submitted. This is for the sake of consistency of reviewing (so that each reviewer reviews the same piece of music without any changes). However, there are a few things we'd like the members to help us determine (in the poll): 1) What should the competition be about? To write background music for one of @chopin 's Retry Bro's YouTube videos. Explanation: @chopin has a new YouTube channel! It's called Retry Bros. and consists of him playing Super Mario Maker levels and coming up with entertaining narration from Mario, Luigi, Princess Peach, Bowser, and other assorted characters. There's also a musical element. So far, Mike has come up with some clever lyrics and used AI to make realistic sounding songs that go along with the video. Now, where you would come in is that you'd be writing background music for one of @chopin 's new videos! To write some kind of autobiographical piece with a paragraph describing how the music portrays the autobiographical material. This one is @UncleRed99 's suggestion. The idea is to "write a piece that simply tells a story about your life, and something meaningful within it. Utilize complex elements to express emotion, tension, or any other desired emotional or mentally relatable expression. Provide a brief summary describing the root of the story being told." @Thatguy v2.0 has bestowed his theme proposal to me. I had another idea for an "Excerpt Exchange". Basically composers entering the competition would send the staff an unfinished excerpt of their music for the ensemble that we'll be writing for in this competition (we'll find out what ensemble from the member voting to question no.2 below). By sending your unfinished excerpt you bestow upon others the right to work on and finish your composition. The composers will be given a random excerpt from a random composer without being told who composed it. Each composer will be tasked with making the best piece they can and finishing it to the best of their ability. The minimum length of the excerpt should be 8 measures. @Henry Ng Tsz Kiu has also bestowed his theme proposal to me so I decided to include another theme in the options: "Sound Mimesis - Acoustic Anatomy". The idea is to use the instruments at your disposal to mimic sounds in your natural environment (although the sounds don't technically have to be created by nature - they could definitely be artificial sounds, but should be mimicked by acoustic instruments). As an example watch this Talking Piano YT Video. Or watch this flute mimicking bird calls. @Omicronrg9 has also bestowed his theme proposal to me. This theme would be called "A Plenty of Persichetti Prompts". The composers would be given a choice to compose music based on prompt(s) inspired by exercises from Vincent Persichetti's "20th Century Harmony". There would be 5 prompts inspired by Persichetti's exercises (but not directly taken from the book) that the composers could use to inspire their music. These prompts would be based around various music theory ideas. I've amassed a document listing various such ideas that could be used in this competition: Musical Composition Prompts. @MK_Piano has proposed the theme - "From Nothing, to Something." What greater challenge of a composer than to take nothing and turn it into something! Your goal is to take the text from Paul Verlaine’s summer poem “Donc, ce sera par un clair jour d'été,” (So, on a bright summer day it shall be) and turn it into a piece! This poem is short, but filled with evoking images of what summer can feel like. Attached is the poem in English: So, on a bright summer day it shall be: The great sun, my partner in joy, Shall make, amid the satin and the silk, Your dear beauty lovelier still; The sky, all blue, like a tall canopy, Shall quiver sumptuously in the long folds Above our two happy brows, grown pale With pleasure and expectancy; And when evening comes, the breeze shall be soft And play caressingly about your veils, And the peaceful stars looking down Shall smile benevolently on man and wife. The poem in French and English @Tónskáld has also bestowed his theme proposal to me. Another idea I had would be called "An Invitation to Dance". The composers would be tasked with writing music in the style of a dance in a modern style, that could actually be danced to and exhibited all the proper characteristics of said dance. The composers could choose from a list of dances including but not limited to the following: Pavane, Galliarde, Tarantella, Saltarello, Allemande, Courante, Sarabande, Gigue, Minuet, Bourree, Polonaise, Chaconne, Gavotte, Waltz, Mazurka, Tango, Samba, Mambo, Merengue, Rumba, Paso Doble, Cha-Cha-Cha. Note that the composer would be tasked with composing only one of these dances rather than a whole set (such as a Baroque Dance Suite). It would also be expected that the music be "dance-like" meaning that it's not just an instrumental derivation of one of these dances that aren't meant to be danced to. My own idea is for the members to write M&M&M's - Mock-ups, Mash-ups and Medleys. The idea is for the members to take 2 or more preexisting themes from different genres of music and to make mash-ups and medleys with them. The staff and/or members would vote about what pieces/songs to include in the following list of genres and the composers would then choose 2 or more pieces from the list to combine in a medley or mash-up (or both!): A single piece of Film Music A single piece of Video-Game Music A single piece of Early or Ancient Music A single piece of Classical Music (Baroque, Classical or Romantic) A single piece of Pop, Rock or Jazz Music A single piece of Rap or Hip-Hop Music A single piece of Anime Music A single piece of Modern/Avant-Garde Music A single piece of World Music 2) What kind of ensemble should the competitors be free to choose to write for? Solo piano/keyboard or solo polyphonic instrument (such as guitar, harp or accordeon) One monophonic instrument accompanied by one polyphonic instrument Choice of mixed trio/quartet/quintet of individual instruments Other mixed ensemble of more than 5 individual instruments not exceeding 10 Chamber orchestra (string orchestra) Full orchestra 3) How many months should the competition span? (1 month, 2 months or 3 months) Happy voting and let us know what you're happy about or what could be changed about the upcoming competition!

@Alex Weidmann @BlackkBeethoven Thank you for listening and commenting. Yes, virtual instruments do what they can, and well, I prefer to focus on the composition rather than on post-production with a DAW and so on. That’s why I use an editor (Dorico) with NotePerformer. There are indeed orchestral versions of Debussy’s preludes. Some are very famous, such as the arrangements by Colin Matthews or Stokowski. I must say I didn’t listen to them when I was working on my modest version. In fact, I didn’t even know they existed until I started exploring this piece. It’s been an interesting challenge because of the nature of the piece – so colourful, yet harmonically free and daring at the same time. It’s been a slow process, taking about two months, as I was working under the supervision (on a weekly basis) of a composer and teacher. I’m in a small group (four people) learning orchestration with him, and it’s fantastic… We usually work on shorter excerpts from pieces, but this one was the full work. In fact, there have been some subsequent modifications and improvements, but never mind. Soon we’ll be moving on to orchestrating pieces we’ve composed ourselves; we’ll see how it goes…

Okay!! Nicely done I will do my best to address your points for feedback as best as I can, but I am not the most experienced composer on the site, so I would keep your eyes out for better feedback later. 1. You have a few spots (really a whole section), starting at m.89 until m.96 where your beat 3 is completely unseen. It's a general rule of thumb to keep your 3rd beat clear, for reading purposes. 2. I enjoy the way your build up the piece, but I'm wondering if it would've been more effective had you established the melody a little sooner. Like even right after you state the iconic canon baseline - the melody starting in m.5 rather than the dotted qtr figure would help establish some familiarity (but disregard if this doesn't align with your vision for the piece). In my opinion, I just think it goes on for a little too long without the melody, especially since you mentioned this will be used in a game, I think having the iconic melody present from an earlier point would be nice. 3.This is just another one of those "in my opinion" things. But I would like if the rhythmic escalations were smoother. Like in m.6, if those 32nds were 8th notes or 8th and 16th notes (which would be 3 notes, but you get the gist). Up until that point you've just had qtr notes and 8th notes. Same thing in m.32, I would just prefer a rhythm that is different from what we've seen so far, but not jumping from qtr notes and 8ths and 16ths to 32nd notes. It's just a little jarring. This is part of what makes your inversion section successful to me. The rhythms are lining up and diverging in a way that seems smooth if that makes sense. By that point we've heard all of the rhythms you will use til the end of the piece and the 16th against the 8th makes sense and doesn't feel jarring. (This may speak to your 6th point above) I would say yes, however some of the times where I get a little lost are probably midi playback things and not issues with what's written. This is getting long-winded lol, so I'll end there. But thank you for sharing your work!! Hope my feedback was helpful.

I see, and thank you for explaining the meaning of each part. Once you finish those parts, feel free to share them! I hope it turns out to be a great piece for you. Best, Lithl.

Hi, Lithl Thanks for the feedback. I am still getting used to both the forum and Musescore so that’s why the storyline wasn’t explicitly there. So far, I have the: Children playing - first part Evil stepmother - second part Banished to the forest - third part Finding the house - fourth part After the huge B chord, at “p subito”, the right hand being eventually joined by the left hand is them seeing the witch. Parts I need to finish: The witch actually trapping them Children fight back The witch gets cooked (literally) and the children escape Finale I’m working on them! Plus, only one school week to go until summer break!!

Hello gooberro! This piece feels like it's portraying mysterious characters. It's a nice work, and each section feels like a different character or a different scene being depicted. Personally, I like how it ends. You mentioned it's unfinished, but which part specifically? As a small piece of advice, I feel like when you post a piece, if you include a bit of the background story or specify what kind of feedback you're looking for, people tend to react to it more. Not everyone is like that, but I think that's generally how it goes. Though I'm not really one to talk. Best, Lithl.

Hello gooberro and welcome to YC! I am honestly surprised that no one has given you feedback yet and this is your second piece, as it has a surprisingly high level of quality with interesting progressions and good themes. I appreciate your work very much.

I pray for the fingers of the pianist who attempts performing this piece lol. It is so fast. But the arpeggios are nice, but I feel as though the piece could benefit overall from a slower tempo. Your progression is very nice.

This will be fun competition to partake in. The results will be interesting!

Hello! I come to you with yet another refurbished piece from over a decade ago. I welcome any of your comments, critiques, feedback or observations. Thanks for listening and I hope you enjoy! Edit: I've included a 2nd mp3 rendition of the piece normalized to get rid of clipping. A Scherzo in Bb.mp3 A Scherzo in Bb Print.pdf A Scherzo in Bb 2.mp3

Yes, in previous competitions, when people already had a piece pre-composed WAAAY ahead of time (like years) that fit the instrumentation and other requirements for the competition, they were able to submit it. However, such entries were obvious to the judges and it didn't predispose those entries to being judged favorably as they didn't fit the theme of the competition as nicely. But that doesn't and shouldn't keep the contestants from trying if they wish to do so. To concur with what @MK_Piano mentioned above, I do think we will from now on count the ensemble size by the number of performers/players not instruments. That can include just about any sound that a human being and their available tools at hand is capable of producing (although this can get pretty involved if you care to do so). Also there's a very easy way to get Musescore to only display staves that have events in them (if multiple instruments are played at once like in the case of an involved percussion rack or something).

I will let Peter reply officially to this. In the meantime, from what the sentiment was last time regarding percussion ensembles: 1. Ensemble size starts with the amount of persons and performers. NOT instruments. 2. Individuals can swap instruments. 5-10 instruments can also mean 5-10 persons. However, 5 percussionists can play 2-3 instruments depending on the part. This said, in percussion ensemble, you would not have 15 staves to show all instruments played. Instead, 5 staves (in this example) and use written instructions to showcase the performer changing instruments (see below): You use one stave to mark one performer, however, write in the part when they change instruments. So, for your previous submission, you would need to find away to only use 5-10 staves for 5-10 persons and not instruments. Whether or not previous submissions are okay? That is for Peter to answer.

The rhythmic elements reminds of Darius Milhaud. Quite enjoyable. Mark

Wonderful orchestration - lovely, lovely color! I find this orchestration to be incredibly balanced - fresh and innovative, while holding to the character of the original. As @Alex Weidmann said, I also think the flute choir was an excellent idea. Your choices feel very intentional, and I enjoyed listening to your orchestration! I would love to see how you might approach something by Bonds or Price.

Hi Luis, This is a great piece to choose for orchestration! I'm sure I've played this on the piano in the past. It uses one of Debussy's favourite tricks with its harmonic planing, and has some lovely impressionist touches. I wonder, are there any other orchestrated versions; or is yours the first? Using a choir of flutes was a neat idea, and I like your harp harmonics (near the start). Also harp with glockenspiel is an effective combination that I probably wouldn't have thought of. My only wish is that you had slightly better instrument libraries to do justice to your score, as the rendition doesn't always sound fully realistic.

Hello everyone! Today, I am sharing my newest and extensive work for the string orchestra. Set in three movements within the key of G-minor, this work was completed after two years since it's initial creation and has a runtime of 14 minutes. The original first movement was made back in April of 2024, while the rest of the sonata was both created and completed in the summer of 2026. The two years in between these milestones saw an exponential growth in my skill and after a summer of listening to a large sum of chamber music, I felt inspired to finish the set and diversify my collection of works. If you would like to know more about the score, please go to page 2 (or page 4 of the PDF) to view specific information at each movement. Thanks for listening and viewing the score! __________________________ If you have any comments, whether constructive, critical or positive, drop your thoughts on this thread! I will reply when able. G-minString_Sonata_AUDIO.mp3 G-minString_Sonata_SCORE.pdf

Definitely Different than your usual Compositions,the Instrument sounds are of far superior quality ,than Musescore Of course this must be YOU.............However the overall "NEW" orchestration sounds like someone else ?

HanselandGretel_unfin2.mp3 HanselandGretel_unfin2.pdf

Hello, L.S Barros! This piece has a medieval musical feel, yet the combination of instruments and sounds gives it a more ethnic atmosphere. This was fun to listen to :) I haven't been with YC for very long, but I'm happy to see you back at YCF! Best, Lithl.

Thank you! I don’t know if there’s a reply button, but this works. I just really tried to capture the kids playfulness with the evil stepmother, and the fog of the forest. For the directions I tried to use detailed ones to enhance the depth of the piece. 😁

Thanks, Mason! I do recognize that this is a lot of music to sift through and it isn't at all an expectation that you go through it all. No doubt that the things you have picked up already will apply generally. You are teaching me important things; for example, I wasn't aware of the 5ths double stopping issue. Also, for some reason I have never mastered use of slurs in my music. I think it is because I have been more focused on the technical aspects of voice leading and structure that I have neglected these performance indications. It is definitely something I need to get better at. The same applies to the page formatting issues you have highlighted. I agree that if this work was ever received by an orchestra to play, these things would be essential! As for the wind instruments - whether they should be divided into two parts as per convention and in the interests of adding depth, this is something else I will look into. At the moment, there are simply four individual parts for the wind instruments. 🙂

Hello again! I found some downtime today and decided to look at the first movement of your work briefly. Here are some annotations: M. Boyd - Symphony in A [ANNOTATED].pdf

Hello, PeterthePapercomPoser. This track is really nice. I did notice some clipping, especially around the 1:24 mark. As for the composition itself, it maintains a consistent atmosphere throughout, yet features unexpected twists that make it enjoyable to listen to. As a remake of a decade-old piece, I wonder if they composed it at a pretty young age? You may have already been skilled at composition back then. Best, Lithl.

This is a nice piece! It would be great for students working on waltz patterns, since the melody, especially in the beginning section is more simplistic and repetitive so they can focus on the LH. However...I would love to see you develop that section a little more. Rhythm, the shape of your line, etc. Just for some variety so it's not so repetitive - repetition is good,but not to the point where listeners are no longer "surprised" by what they're hearing/what they might hear. Your B & C sections do a much better job of applying this - repetition without becoming TOO repetitive. Good job overall, keep composing! I would love to see how your work grows

Hi, TristanTheTristan, This music is enjoyable. It seems tough to play on the piano, but the rhythmic feel of the arpeggios is great. Personally, though, I felt the ending after 1:06 wasn't really necessary. It might feel more natural for a miniature if the arpeggios just slowed down to a smooth close. Overall, it’s a nice arpeggio miniature Best, Lithl.

The instrumental sections of "Stardust" sung by Nat King Cole. That intro is heavenly! https://youtu.be/EENrbo-Zvs8?si=p1U0fLyCjt7sd5t- The instrumental bits are so delicious, so stunning! How does anyone write something as beautiful as this just out of thin air?

Thankyou Kyle Regarding YOUR future compositions ?..............................The Best is yet to come.

My own small piece of advice when I have writer's block that I use daily. When in doubt, FUGUE IT! 😄 hope that helps

Some serious chops showcased here. So since this piece is so well put together, the criticism may seem harsher. My intent is not to be that but give deeper insight since you know what you are doing. Reh B: I wonder if we would get more of a flight feel if the snare wasn't here? Then maybe repeat it with the drums. At 34, I would argue the climax comes WAAAAAAYYY too soon. I wonder what would happened if you would delay it for about 6 bars....or even two bars. Be mindful of where your woodwind players breath. Some of these passages are calling it. Reh K: Usually passages like this are ended on the downbeat. It's a trick Ravel taught all of us! Notice how he ends the phrase on the down beats. It gives it more connectivity. Even if you don't want it, it syncs better. (Example Attached) Overall: I can't wait to hear this live! Daphnis and Chloe woodwind run example.pdf

Good stuff. My only comment: Put your name on score!

Inspired by George Traugott polkas from the 1880s. That composer is practically unknown, so you might as well say it's my own style ;) I think I'm not there yet in terms of harmonic and rhythmic variety, the melodies don't always seem to be developed the right way, but at least the general mood, form and dynamics are laid out. I'm composing in this style of music all the time for 4 years now and I think I've met that barrier when I can't compose any more complex without some help. So any advice on the harmony, rhythm and melodic contour are appreciated. I know the theory on diminished sevenths (there's one in the piece by the way), augments, Neapolitans, borrowings from minor, etc, just don't know how to use them in this context. Cheese with Walnuts.mp3 Cheese with Walnuts.pdf

Congratulations, my dear friend. I liked this scherzo very much. It has a very distinctive atmosphere and great taste. The harmonies are wonderful, and the contrasts make it extremely interesting. I don't really have any criticism to offer. As both a musician and a listener, I found it tremendously satisfying. The only thing I would love to hear is a real performance on an actual piano. Once again, bravo from me.

thanks for all the replies as again I think going by ensemble size is much better. This will also prevent people from pulling a fast one with making “string orchestra”stuff. (a moment, including me that I’m not proud of.). But basically taking something that is meant for five instruments in treating it using patches for a section.

just a bunch of questions, but first let me start off with my own disclaimer Right now, I am doing another time consuming competition for music for the next two months so I may not be able to participate however though I love this community and it always gives good feedback so I may have some loopholes I could use to allow me to still participate quite honestly, it would be a lot to have three commissioned music right on top of each other (two from the competition I previously had said about plus this one with one more) [and commission is just what I mean by a piece of music that is called for by a competition given its nature] OK, my first real question is am I allowed to submit previously written music by somehow and by some miracle the voted prompt turns out to fit a older piece I have not submitted for a competition even if I change the instrumentation a bit to make it fit if we do the large mixed ensemble option, the one consisting of 5 to 10 instruments let me just first clear that I do have my own back up plan just in case if this idea is rejected, but is it plausible I could write for a possible 10 person front ensemble (the thing about percussion is that you could have one person with one part pick up two instruments and also some auxiliary percussion such as drum set and rack consists of many things as a combo so just wondering if I’ll be able to do that given my last entry to a competition that use a similar approach kind of gave some controversy it’s very much by tradition that some of these instruments are mounted on upon each other

I wrote this piece back in 2018, when I was still in college. The conceit is that it's a theme and variations with 2 themes, one on each end. The variations are played starting with one theme and ending with the other. To add to the compositional complexity, the piece is reversible: you can start with the other theme, play the variations in reverse order, and end with the first theme. "Variations" should probably be in air quotes - they're really more like microscopic character pieces that use the themes as a jumping off point. I've given this piece a lot of thought over the years - most people I've shared it with enjoy it, although they disagree about which order is better (which I consider a success ). The most common criticism I've heard is that the individual variations are too short. I'm curious - what do you all think? I've grown a lot ear-wise since I wrote this piece, even though I haven't written very much since college, but I'm still very happy with it for the most part. I'm thinking of revising the work and expanding some of the sections (e.g. N2, N3, S3) to give them a bit more symmetry. I might also try to get the work published, although I don't expect major publishing houses to be super interested or to get it to a wide audience. Here is a pair of recordings I made of the piece right after I finished writing most of it, synced with the sheet music. I later added a cadenza to the opening of N1 which is not included in this recording. Chiastic Variations, Op. 6a Chiastic Variations, Op. 6b

Hi @stewartIM and welcome to the forum! I think writing a set of variations on two themes is a really great idea! And writing them so that their order can be reversed is especially ingenious! I listened to both versions and was amazed that there weren't any awkward transitions between variations - perhaps this is because you wrote each variation as a standalone piece of music? If you were tasked with writing them as one smooth and continuous piece of music it would be harder methinks! Also - amazing performance of your own music! Great job playing and recording this piece! My favorite variation was perhaps the Chiasmus: Bleak. Although the Lamentoso variation was especially affecting as well. Now for some critique! I write a lot of variations and I consider it my life's calling to find themes that nobody has written variations on and write variations on them! In my own composition adventures I usually expect there to be an intensification of the awareness of the theme throughout the variations. When I listen to some of my favorite variations pieces my mind is stimulated by how different they get while still being audibly related to the original theme. In other words, the pieces stimulate the listener to recognize the theme in all it's various new and different forms. But, in your variations, I don't perceive that to happen. Perhaps it's because you're using two themes? Or perhaps your variations don't have as tight of a motivic development as I've come to expect from other favorite variations pieces I've heard? But don't take this the wrong way - I've still enjoyed your music immensely and it is very good! The other critique is that the music in both versions seems to just stop and there's no audible drive to a strong conclusion - this is obviously because the piece can be played backwards and forwards and it would be impossible to accomplish because of that - unless you had two conclusions - one at the beginning and one at the end. In any case - I enjoyed your music very much and thank you for sharing!

Thanks for the feedback. I have thoughts, but I want to get other people's first impressions before adding my own bias.

Hey! Thanks for the comments. To be honest, I struggled on a name in the first place lol. When I started this in 2024, my goal was to make a sonata and my original second movement was a Courante. So, the idea just stuck with me until now. I thought giving a dedicated name like some of my other works, however, it was a roadblock there. With the melodic voicing, it just comes to MuseScore at that point. I did some hidden notation to voice stuff louder or softer for the playback however. I may go back and update it for the dynamic reasoning, however, my thought process veers towards performance. The conductor of this work would hopefully know when to bring out the melody, or the ensemble would know how to balance regardless of dynamic.

Hey @MK_Piano ! This is a nice piece for chamber orchestra! I listened on headphones. I personally would have called it a Suite for Strings with the first movement being perhaps a Serenade, the middle movement a Bagatelle and the last movement a Scherzo or something. But those are just my personal suggestions and by no means do I intend to impose my interpretation upon your vision. One thing I did notice is that you don't seem to balance the melody above the rest of the voices (or perhaps you do in the mixer? But that wouldn't make sense since you don't always have the melody in the same voice.) I see all the string parts at the same dynamic at the same time. I think it would bring more clarity and balance to the music if you brought the melody out more by setting it at one dynamic level higher then the rest of the voices. One way that you do use to bring the melody out is by sometimes doubling it with multiple instruments together so good job there! I enjoy the sections where the melody is in the bass - I think that's a cool creative decision that brings variety to the music! Overall I really enjoyed it! Great job and thanks for sharing!

Hey Interlect! Weirdly enough, it’s still MuseScore sounds, albeit a different preset within the sample catalogue. Regardless of the sound font, it’s still my writing!

Hi all this a brief (puff of smoke) for piano and viloin. I am not sure just to leave it be or incorporate in a larger work. At the moment - I'll let it stand by itself. All comments appreciated. MarkSenerade Violin Piano 04-16-26.pdf Senerade Violin Piano 04-16-26.mp3

Thank you for taking the time to listen to my work. Well, it's beyond me why I called it a Trio. I must have had another work in mind when I posted. As for the sparse piano accompaniment is to create a specific mood/feeling. I understand the slurs are not bowing marks .... placed there for interpretive intent only ... will it confuse the violinist? You provided some motivation to do more with the piece ... maybe I'll work on it. I'll see if my muse speaks to me! 🤔 Mark

Greetings! 1) Your title says string trio, yet this a duo. 2) if you can, please add more chords in your piano part. 3) A VST violin will always generally play legato. What you wrote is not. The one bow marking you did write is implausible. Remember, phrase markings are not the bow markings. 4) I do like your melody here. With that being said, this piece is too short. This piece could go at least for another 3 minutes. There are never enough string trios or violin pieces. Keep at it!

HELLOOOO!! It has been a while since i don't post here so it's nice to be back, today i bring you guys a small Ricercar with a very simple subject. I done this piece while i was bored and i had nothing to do, so i just started writing, but i didn't finish it at first, i only finished a few days later. The instrumentation is: Cornetto, Renaissance slide trumpet, Tenor Sackbut, Dulcian. I hope you enjoy! LOB 101 Ricercar.mp3

Stylistically the composition reminds of the soft folk rock of the late 1960's. A very pleasant work. Mark

Hello everyone! I come to you with my first piece produced on my new Acer laptop that runs Musescore smoothly! I have taken the opportunity (before I always had a school chromebook so I couldn't do this) to download Cakewalk Sonar DAW which allows me to open all my old .wrk project files from back when I was using Cakewalk Home Studio over a decade ago. So, if you can't tell by the title, this is one of my juvenilia that I dug up from way back when I used to compose into the sequencer. Back from around 2008. I intended it to be a mix of styles between classical and jazz, hence the corny title 🤣. I use blues scales, extended harmony, altered chords and polychords - all in a way that is intended to be "classically jazzy". I hope you enjoy this piano trio and let me know what you think! Thanks for listening! Jazzical Piano Trio.mp3 Jazzical Piano Trio.pdf

I feel I've done my work on this score now, and am going to be moving on to new projects. However, I would greatly appreciate any further feedback that anyone has / is willing to provide for this score, or, simply just opinions or statements regarding what you felt about this piece. Thanks everyone!!!

A very successful orchestration 😊. I enjoyed listening to it. Great balance and color! Mark

I think his name is actually Mason..🤣

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