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Hello fellow composers! I wanted to share a short piece I wrote called Morning Meadow. This is part of a broader goal I have of writing short, simple pieces. With this one, I was trying to focus on melody, color, and restraint — something peaceful and dreamlike, but still gently expressive. The instrumentation is solo flute, harp, and violin section, with the harp providing a soft arpeggiated texture, the flute carrying the main melody, and the violins entering later with a slow countermelody. I kept the harmony fairly simple and color-focused, and I was more interested in creating a clear atmosphere than building a large dramatic form. I’m happy with how the piece turned out overall, but I’d really appreciate outside ears. I’d love feedback on the composition, orchestration, mockup realism, balance, phrasing, or simply whether the mood comes across the way I intended. Thanks in advance! Morning Meadow - Concert Score Ver1.pdf

Wow!! These are great! I only wished that you posted these separately, as I hope these pieces get the attention they deserve being all together. I love this one, the drama in it is set up nicely with the climax, and the chord colors are wonderful. Great too, I maybe would have made bar 46 twice as long to really set up the cadence. Beautiful in it's simplicity, I like that you spread out the difficulty in the set, letting some be much easier to play than others. It gives a better flow to the pieces as a whole as well. Part of the arpeggios are in the right hand, correct? I would have notated that in the score. I really like the drama in this, and even though it wasn't my favorite theme, you developed this really well. I like the texture change in the middle. Lol mock serious swagger :D This was super fun! The jazziness was a welcome change after the first 4 pieces. What about marking "freely" at bar 27? Do you want the RH rhythms right on the dot? Or is there an improvisatory aspect you're going for? It might be cool to let the player syncopate the rhythms to go with the steady walking bass. I like that this one broke away from the ABA style, I like the evolving part of the form. like an ABAB, textures markings the sections. I really like those ethereal RH figures with the low bass. Awesome fun! Kind of reminded me a bit of Baba Yaga, Mussorgsky piece. The ffffff is kind of excessive, but I'm guessing it's for playback purposes. Loved this one! Much needed after number 8, as overall these preludes are on the heavier side. It sounds sweeter to my ears after the last one. Ended with a bang, the drama is great here! I must say, that overall I really loved the order of this set. Not sure how intentional it is, but it really made listening to this as a set more fun and enjoyable. Your talent is massive, I wish we heard more from you! Life is busy, but I'm glad you find the time to stop by and share what you've been working on. There's some small editing errors, nothing major that jumped out at me (copyright 2025, stuff like that). Your style is right up my alley, and I immensely enjoyed these. Thanks for sharing, friend.

Hi everyone! I composed this short waltz for piano today. I'm still practicing it, so for now I've used the sounds from MuseScore 4. It was inspired by Tchaikovsky's Album for the Young, Op. 39. The opening melodic motif is quite similar to that of No. 8, "Waltz," and I also used some harmonic progressions that I learned from No. 14, "Polka." While studying and practicing pieces from that album, I started wanting to compose several short piano pieces and create my own "Album for the Young." This is my first attempt. It is a waltz in B-flat major, although the tonal center shifts around quite a bit. The form is ABA', with A being the main waltz theme and B a slower lyrical brief section in Cmaj. As always, every feedback, comment or suggestion is more than welcome and hope you enjoy it! Thank you!

A lovely piece. I like the relative simplicity of the composition. A suggestion: given the calm, dreamy, almost ethereal nature of the piece, perhaps you might have tried using harmonics on the violins in the upper register, as these are long notes that are relatively easy to play. I don’t know if you’re familiar with this, but it’s a very effective technique for pieces like this. Almost like a ‘rule of orchestration’, I think the harp should have a note at the very end. Otherwise, the player is left ‘hanging’. Of course, you can write whatever you like. Best regards.

Hello I’d like to share part of my Humanist (non-religious) Requiem project, in which I’ve set myself the following objectives: To use a blend of contemporary and traditional languages To use texts by poets who fascinate me To write calm, short pieces To mix Latin with English I’m using Cantai for the vocals – it’s not the best it could be, but I’m happy with it. For the instruments, I’m using Noteperformer. Everything is managed within Dorico. It’s an idea I’ve had for a long time, one that expresses – or at least attempts to express – my concerns in this life....... Best regards. Introito.mp3 Introito- The Origin.pdf

Hello, friends. About three years ago, I penned this song cycle for a friend from El Salvador, based on poems by the beloved Salvadoran poet, Alfredo Espino. These hold a special place in my heart because they're the last music I've ever written, though they were sadly never performed. The songs and directions are completely in Spanish. Here they've been rendered by Cantamus (unfortunately sung in a Castilian accent and not the Latin American accent spoken in El Salvador) and the piano accompaniment has been [poorly] played by me. They're not the best recordings and some of the lyrics didn't render properly, but hopefully they deliver the music effectively. The cycle is chiasmic in structure (i.e., the first and last movements and the second and fourth movements mirror each other) and it tells the story of a day in El Salvador. I. Madrugada: This means early morning. The lyrics and music represent the waking of the Salvadoran countryside: farmers starting their day, roosters crowing, birds chirping. It begins mysteriously but soon "warms up," preparing us for the rest of the song cycle. II. Plombagina: The title is about a tiny flower found along the riverbanks in El Salvador; here it represents the playfulness of the river and the hopefulness of midmorning. This one is unmistakably waltzlike and lyrical. III. Tardecitas: "Little afternoons" is a piece about watching the rainfall in the heat of the day. It's lazy and less ambitious than the others in the cycle, representing the languor of a dreary, rainy day. IV. Estrella in el río: We return once more to a song about the river, this time in a more contemplative frame of mind. "Star in the river" is shimmering and reflective, capturing the tranquility of twilight as the stars begin to pinprick the sky and cast their reflections into the river below. V. Nocturno: While "Madrugada" expresses the joys of a new morning, "Nocturno" explores the angst found at the close of the day. It's by far the most restless of the cycle, employing a sort of perverted tango rhythm in mockery of the soothing sway of a nocturne. In it, you'll find themes of grief and fear and anxiety, embedded in harmonies very reminiscent of Spain/Latin America. Even if you don't understand Spanish, I hope these songs move you and perhaps inspire you. As ever, I'm happy to receive any feedback you may have. Best, Jordan Canciones de El Salvador.pdf I. Madrugada.mp3 II. Plombagina.mp3 III. Tardecitas.mp3 IV. Estrella en el río.mp3 V. Nocturno.mp3

What fascinating music. The compositions are fantastic. The piano part is very well crafted but complements the vocals perfectly. I think you’ve captured many Latin rhythms perfectly; in this style, it’s difficult to separate the Spanish from the Latin American elements, as the influences are mutual. I really appreciate the effort you’ve put into playing the piano yourself, as I understand it. The overall sound is very distinctive because this cycle of songs sounds entirely like a style of popular Spanish ‘tonada’ (from which the ‘tonadilleras’ are derived). Originally, the ‘tonadilla’ was a traditional Spanish song of a cheerful and popular nature, performed as an interlude or at the end of satirical plays between the 18th and 19th centuries. Over time, the concept evolved from classical theatre towards the café-theatres and variety shows of the 20th century. Nowadays, the term is directly associated with the great divas of Andalusian copla and Spanish folklore, characterised by their high level of expressiveness, the wearing of long-tailed gowns and a highly dramatic stage presence. Initially, this type of music was accompanied by the guitar and perhaps a small orchestra featuring folk instruments (castanets, tambourines, dulzainas, etc.). But at the start of the 20th century, it evolved to be accompanied by a solo piano – which is how your music sounds – and it also has a very strong ‘cabaret’ feel to it, as it is recorded live, as I gather. As for the language. Well, I’m a native Spanish speaker. It’s quite – very well done. I’m also struggling with these programmes that sing along to lyrics… and I know what a pain it is… The accent is very neutral. It certainly doesn’t sound like any Latin American accent I recognise, let alone an Andalusian one. It’s close to a central Spanish accent (Castilian, as you rightly say) but there are moments when it sounds a bit ‘forced’ – something that many real singers in Spain do. Bravo, and it’s a pleasure to listen to it. And I love it when someone delves deeply into cultures that aren’t their own, perhaps, to bring all this out.

Hello, Emilia, and welcome to the forum! I must confess; I both love and hate your piece. Post-impressionism is the style of music I personally enjoy consuming and writing, and you have done great justice to that genre with this work. However, as a violist, I feel very overlooked. That you would include the massive and unwieldy contrabass to the exclusion of the strings' darling alto voice is unforgivable. That's mostly hyperbole, of course. I am offended but I'll get over it. Now for my remarks on your hard work. First, the heartbeat pizzicato work very well, with the offbeat providing an organic rhythm that reminds me of something living and searching. Excellent voice-leading choice to put it under the violin's melodic line! I also really like that you showed genuine restraint throughout this work. There are large-scale dynamics and fantastic textural arcs here, sure, but you chose to hold back on the "crazy," and the result is a deceptively challenging piece that really showpieces what a... ahem, modified string quartet can do. Furthermore, the form and structure is very sound, with the return to the heartbeat texture being such a lovely touch. It's impressive that you captured the text's emotional essence rather than gave a programmatic rendering... but that's the mark of a true (post-) impressionist. My critiques are few and quite minor. What struck me almost immediately after listening to the work was how underused the contrabass part is. For the bulk of the piece it holds pedal tones (which is fine in moderation), but there aren't really any passages where it has an independent voice. If you're going to overlook the viola, please consider giving its replacement a more active role in its stead. ;) Also, some of the chromatic melody, like mm. 10-13 and 18-20 in the violin, is expressive, but some of the leaps feel arbitrary rather than intentional. This could be a matter of taste. If it is intended to represent something (searching, perhaps), consider using stronger support in the lower voices to provide context. Overall, I'd say this is a piece to be proud of. Your concepts are mature, the sound you've created is very much your own, and the connection to the text is genuine. Thanks for sharing (and good luck on the assessment)! Best, Jordan

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The notes are the same for M-I-C-K-E-Y lol!

I share with you a very short musical quote from the book "Flow: The Psychology of Optimal Experience" by Mihaly Csikszentmihalyi: For the sake of convenience I have drawn up this little pattern in Musescore: I personally tend to tap out Bach's Invention No.8 in F major (at least in the right hand only) if I find my attention drifting. And if you've gotten this far, thanks for reading!

Hello Everyone! After a brief hiatus from the forum for a much needed vacation and music-recharge, I am back home and beginning to try out new ideas for chamber pieces. I have written a lot of music for large ensemble and wish to dial it back down to chamber and solo music over the course of 2026. The first part in this is to showcase an idea I felt passionate about a few weeks ago. As I began to write it out this week, I feel the flame has kindled and I may not finish/ expand upon it later as I have a lot of ideas I want to explore now in other places. This Fantasie is not as extensive as the classical and baroque styles, however it's a fantasie in the sense of my improvisation with the string quartet. The only thing I wrote down was the first four bars of melody, everything else was what I made in the moment and over the last few days. Let me know what you think and as always, thanks for viewing this post! AUDIO-Fantasie in F#-minor.mp3 SCORE_Fantasie in F#-minor.pdf

Hi everyone. In "Abyss Echoes" it is the first time that I think I've managed to express a part of myself through piano writing, so I'd love to share it with people and get feedback. Feel free to drop a listen and share your thoughts on my music. Edit: After I posted I submitted this piece in a competition that required me to make it private on my youtube channel. Sorry for the confusion, I'll now provide the recording and I might re-edit this post including the youtube video uploaded by the competition channel. Edit 2: The video is out on the channel of the competition so I'm sharing the link. abyssAudio.mp3

Likewise, @Gregory !

Heyo! This was the piece I was thinking about entering, but too late did I realize it was composed for a larger ensemble than the competition asked for. Nevertheless, I’d like to hear feedback. I wrote this in high school, about the sunset, the night animals coming out, and the following sunrise. Please use your imagination with some of the Noteflight playback, like on the percussion rolls. https://www.noteflight.com/scores/view/9a6240a2f89f631e24a47c955afe7d222913aca7

As I said, to each their own! lol I understand everyone has preferences :) I just like the ability to click/drag anywhere I feel I want to, without having to think about it. and for whatever reason, in noteflight, it's very slow to respond to my actions :/ not sure why. My hardware accel. is on in browser, so it can't be a settings issue. I tried to use it for a little while, just couldn't get accustomed to it. What with MS studio's dev team focusing so much on shortcuts/accessibility, and ease of navigation and input, I just simply can't think of another way I'd rather navigate my scores than what MS offers. You do what works for you, though. End of the day, that's the best way for anyone to do it. :)

This is a project I have slowly worked on for about a year. Thoughts/comments/criticisms welcome. Edit: I have cleaned the scores up a lot. Prelude No 1.mp3Prelude No 2.mp3Prelude No 3.mp3Prelude No 4.mp3Prelude No 5.mp3Prelude No 6.mp3Prelude No 7.mp3Prelude No 8.mp3Prelude No 9.mp3Prelude No 10.mp3 Prelude No. 1.pdf Prelude No. 2.pdf Prelude No. 3.pdf Prelude No. 4.pdf Prelude No. 5.pdf Prelude No. 6.pdf Prelude No. 7.pdf Prelude No. 8.pdf Prelude No. 9.pdf Prelude No. 10.pdf

@Thatguy v2.0 Thank you for taking the time to listen and comment on my preludes, especially with such thoughtful feedback! I really appreciate it. (And an award?!) On piece 4, you are correct, the scales and arpeggios are meant to be in both hands, actually all the way from the 1st bar up to the 20th bar, and mss. 17-20, the L.H. crosses over to hit the chords on the 3rd beats. I should have been clearer in my notation. On piece 5, that's a really great thought to add a "freely" direction at bar 27. This piece is meant to have a pseudo buttoned-up, but actually silly, free-form feel to it, and that kind of marking would fit well. I really appreciate your concern about uploading these separately, but it's ok! Even if they do get less attention as a result. It was very much my intention for this set to be listened to in its entirety, with one piece moving on to the next one, and I'm pleased that it made the set more fun and enjoyable for you to listen to. Your preludes were actually an inspiration for writing them, as well as Felix Blumenfeld's incredible set of 24 preludes. (I don't have it in me right now to write as many as the both of you have! Maybe in time that will change.) Again, thanks for taking time to listen and comment, it's much appreciated!

A few days ago, I wrote a very short piano work for my brother's birthday, which is not something I normally do. I realised early on in the week that I had not yet got him anything and decided to write and put together a music video in one day, as one does. Of course, I paired it with some colourful lyrics to express my utmost brotherly love and affection for him (translation: extol his persistently annoying behaviour and call out embarrassing moments in his life). To my surprise, he did enjoy it more than I thought he would, so that was a success! I've removed the lyrics for seriousness' sake in the PDF, but I hope you'll find something of interest in here. As usual, I am also always looking for feedback and ways to keep chipping away at my pieces even after I've written them. Are the two main themes different enough in character? Does the form feel awkward or bloated? Anything else of concern or note? One thing I will admit is that I probably should not have notated swing entirely with triplets, so that's something I've started to fix up at the moment... Promenade (2026).mp3 Promenade (2026).pdf

A very, very beautiful piece. With a touch of Baroque or galant inspiration, I’d say. It’s brilliant that, with relative simplicity and just a few instruments, you’ve created such a dreamy and nostalgic atmosphere.

For navigation, if you load the whole score first it all works out. Space bar to play from your clicked note, p to stop. I really love Noteflight’s compositional flow more than Musescore’s; it’s like 33% faster. Plus it’s online so I can do it anywhere and on my phone. In my opinion, “Gawd” did good things with Noteflight😉

Hi everyone, I'm new to this group and am excited to have found the community. I recently began writing original music for concert band. What feedback do you have for me regrading the piece below. My primary goal in writing March of the Fire Brigade is to learn and get better. My students may end up playing it this next school year as well. Thanks for any critiques you can give me! March of the Fire Brigade

Actually, I was mistaken. The areas I heard weren't parallel 5ths, rather, parallel 4ths. Which are still just as weakening to the overall harmony, in my opinion. places like in measure #51 between the clarinet and flute, for example. (b. 51 Flute & Clarinet) two parts moving at a 4th or 5th interval back to back like that is something to be avoided, as a good rule of thumb, when it comes to composition. (P.S. I've said this before, I think, but GAWD I hate noteflight's navigation... 🤣... Makes me wonder why most, if not all of us just simply use musescore, but to each their own!)

And now you know!

I was trying to listen to your music, but it seems the video is set to private! Hi, I've listened to your piece. First of all, I think it's wonderful that you completed a work spanning a total of 10 minutes. Personally, I found your way of building developments to be novel and enjoyable to listen to. I particularly liked the way the sounds were scattered in the section starting from 8:40. At the same time, the sound at 8:50 was completely unexpected, so I liked that part as well. For the section from 9:05, I think it would sound smoother without the sudden volume drop if you made the volume a bit louder to bring the sound more to the forefront. Overall, it's a fascinating piece. Also, since people on this forum often give detailed feedback by looking at the sheet music, I recommend attaching your score! By the way, your choice of piano sound is also excellent. If it's not too much trouble, I would love to know which plug-in you are using. Best, Lithl.

21st: The Most Innovative Composers In the 21st century, music has become remarkably fragmented compared to previous eras. Yet, as in every age, there are composers who stand out as groundbreaking. Who do you consider the innovative composers of the 21st century? Here are my examples. 1 - Richard D James I consider him to be the greatest composer of the 21st century. His innovativeness has evolved with the times, influencing Mike Paradinas, Tom Jenkinson, Thom Yorke, Björk, and countless others. What deserves particular mention is his use of high-speed, computer-generated rhythms alongside a consistent body of work. From Syro (especially XMAS_EVET10) to Drukqs, and across aliases including AFX and Polygon Window, each release is characterized by detailed sound texture construction. This level of craft places him apart from most contemporary composers. His process of immersion in sound itself appears central to the results. (Related: Tom Jenkinson. Not confined to bass or jazz, he deploys rhythms to develop a distinct style, as heard in his recent Kammerkonzert.) 2 - Georg Friedrich Haas While I am not someone who can analyze and discuss music in a strictly technical sense, starting with In Vain and continuing through subsequent works, there is a distinct originality in how he incorporates conceptual elements — including performance in complete darkness. His style differs from Ligeti's, but the logic of his ideas and his ability to realize them compositionally are notable. 3 - Michael League As producer, leader, and bassist of Snarky Puppy, his compositional work merits attention. He may not belong to the category of historically canonical composers, but tracks such as Somni and The Curtain represent a high level of cross-genre craft. His solo work occupies a distinct space, making use of jazz harmony and a particular tonal quality that is difficult to classify. 4 - Ludwig Göransson Active primarily in film scoring, his work shows consistent originality. Black Panther stands out within his output: rather than simply placing African music within an orchestral, his use of sound reverberation and electronic tones within individual tracks represents a specific compositional decision worth examining. His trajectory outside of film scoring remains an open question. 5 - Ambrose Akinmusire Beyond his work as a trumpet player, his compositional approach is notable for the integration of classical strings and explicit social content. The string writing contributes to a fluid quality in the compositions, and certain rhythmic passages — in combination with the drum writing — share something with Hania Rani's approach. He stands as one of the more genuinely contemporary voices currently active. (These are just my current opinion.) What do you think? Who do you consider to be innovative composers?

Thanks for the positive feedback! Where specifically did you see I used parallel 5ths? It would help me to go back & relook at them. I composed this before I even knew what a tonic was😂

Thank you for your reply, and I am sorry for the delayed response! Currently, I have a computer automatically generate sheet music for me. What I have in mind is to first use a computer program (such as MuseScore, though I would welcome any recommendations) to automatically convert MIDI into notation, and then study music notation in order to correct and refine the output. As for writing by hand, that is certainly something I would like to be able to do eventually, though I imagine that is still a ways down the road. In addition, my primary motivation for wanting to learn notation is analysis. Just as many of you do, I would love to be able to analyze pieces of music from a notational and theoretical perspective. In short, my two main goals are: correcting and refining the output from software such as MuseScore, and performing musical analysis. Those are what I am primarily hoping to work toward. Best, Lithl.

Sympfonija nr1 2 mov.mp3Simpfonija nr 1 jud 2.pdfHere is my symphony

This is for a senior assessment task - I am new to the forum and thought that it may be wise to ask for feedback on my composition before I submit it, if possible. It is influenced greatly by Ravel, Salonen and Pärt, and I have aimed to write it in a post-impressionist style. I have written it both for my assessment task, where it will be marked out of 20, and for a school performance as a reflection on the scripture passage Matthew 7:12. I have attempted to include elements of human activity - i.e heartbeats, using the syncopation at the beginning and end, as well as a direction of the players to accompany dynamic shifts with loudness/acceleration of breathing. I would appreciate if anyone has any feedback to give :) assessment3.mp3 assessment3.pdf

and indeed, old member. @ferrum.wav you should check out @SergeOfArniVillage works!

HI there, are you writing by hand or using a program?

Here are my overall thoughts about this competition: Overall, the competition was competition went well. I think new members might find the three-month time limit a challenge. However, seasoned members, with the flow. It allows entries to submitted and to be scored fairly. For the spring competition, I was a judge! There was one entry that stand out! Sadly, it was scored very low. For now, the competition should be for fun. and open to all. But I do not want to anyone to bummed out if they score low. So maybe new members should encourage from seasoned to join after they have a couple works? (just a thought).

Indeed we need our imagination as there's no link here 😜

Glad to hear you nonetheless participated in writing a Landscapes - Soundscapes themed composition! Where is the link to the music?

I made multiple little tweaks and improvements today (at least I think they're improvements?) Frank Bridge - The Dew Fairy #31.pdf Frank Bridge - The Dew Fairy #33.mp3

Thak you so much @SergeOfArniVillage , I am really glad you liked it! I also considered mixing both sections but, to be honest, the main reason I started with the tonal section was because I lacked skills and ideas to keep the atonal section going. So before mixing atonal and tonal ideas I think I will need to learn much more about atonality (what makes it work and different techniques). Thanks for commenting!

Hi, Izaak. I must say, I was transfixed listening to this piece! The sustained harmonies, the silky textures, the pulsating rhythms: it was masterfully crafted. Few things bring me more joy than experiencing a composer who's expressing himself in his own voice - and that's exactly what I felt here. In my opinion, you accomplished what you set out to do with this piece. It was at once anxious and grief-filled and restless, and yet somehow still very moving. Thank you so much for sharing with us! Best, Jordan

I'm just a random passerby, but I just wanted to say I thoroughly enjoyed listening to this! It's refreshing to hear a work that looks so complicated on paper, sound so simple and easily understood. And to be clear, that's a sign of masterful compositional skills. Honestly, inspiring, and this gives me a lot to think about. Thank you for sharing!

rescinded

Hello It’s quite a pleasant piece. But I agree. There’s some technical issue I’m not aware of, but it all sounds very unbalanced. On another note, I don’t know what your background or training is. But I think there are certain pitfalls we all fall into when we’re beginners (and even until we’ve gained enough experience). And that is: we put a large orchestra on paper (or screen) and think that by filling it up as much as possible, we’re orchestrating. But that’s not how it works. I think your first orchestrations should be with small, chamber orchestras.

Hi Sam, The first problem I notice with this, is a technical one. It sounds like you have your master level set too high in the mixer, and it's causing a lot of peak level distortion. There's also quite a lot of octave doubling across the orchestra. This is notorious for causing distortion, because the instrument libraries are artificially adjusted to be perfectly in tune. So you get lots of frequency build up that you wouldn't have in a real orchestra. Some more expensive libraries allow random detuning, which helps circumvent this problem. Octave doubling is something forbidden in strict counterpoint, because it sounds weak. So it's probably best avoided where possible. (I'm being a bit of hypocrite here, because I've made exactly the same mistake in the latest piece I've posted!) Anyway, hope that helps a little. Alex

Hello @Josephine_Maccrimmon ! Welcome to the forum! Sorry for a late reply. I think the beginning of this sketch set up the mood well. You have many things you can do to move the composition forward. First is harmony. You are just staying in tonic D flat major in the passages presented. How about a half cadence and then modulates to a different key? Like, you can have a phrase ends on Ab major which is the dominant chord, and then start in a close key and then gets back to tonic Db major. You will already get some progress with this formula. Next is the instrumentation. You are using the flute as the melody carrier. What about the other instruments? You could easily switch roles with each of those instruments, for example having piano/oboe/quena playing the melody. Another thing is texture. What about changing the texture to a more polyphonic setting and invites more counterpoint? Also what about a contrasting section with different mood, tempo and key? These are all what you can consider for developing a piece! Henry

In response to some recent low-quality low-effort posting in the forum the staff have decided to form some rules about proper forum etiquette and what constitutes fair and reasonable use of the forum: 1a) If you suspect that something might have to be deleted by a Reviewer, Moderator or Administrator, don't post it. 1b) Or if you suspect that your post might not be appropriate for some reason consider if it might not fit better in a different section of the forum. The forum has many sub-forums in it that are meant to be flexible and allow users to post all kinds of content, as long as it has its proper place. 2a) Keep threads on topic. Although the forum is meant almost exclusively for music discussions, there are sub-forums which are dedicated to any topic which can be used, if users so desire, to "shoot the sh*t". 2b) But if a thread is meant to be about a specific musical composition posted in "Upload your Compositions for Analysis and Feedback" please keep the thread about the music posted in question. If you want to post a new piece of music as a response to someone else's post, please create a new dedicated topic for that piece. 3) Please refrain from talking about inflammatory topics such as substance use or abuse or sexually explicit topics considered NSFW. And if you must talk about religion or politics, please create dedicated topics in appropriate sub-forums rather than flooding the musical forums with unrelated conversation. Also, please try to keep talk of religion or politics related to music history. 4) Do not plagiarize other composers works or modify or use elements of another composer's compositions in your own works without permission and giving proper credit to the original composer. Disregarding this etiquette will cause the member in question to be penalized with a warning point and the following penalties: 3 warning points - member's content will be manually moderated by the staff 6 warning points - member will be temporarily restricted from posting content 9 warning points - member will be temporarily suspended from accessing the site 12 or more warning points - member will be considered to be banned from the site permanently Editing of inflammatory posts in question will potentially reverse warning points.

I wrote another Romance for my girlfriend Julia's birthday. I hope you enjoy and let me know what you think! Romance No. 2.mp3 Romance No. 2.pdf

You will be fine. :) This is a stress free environment.