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Yes - thank you for pointing that out!

Funnily enough, it's very telling of commenters who don't have much of substance to say about the overall quality of my work when they start pointing out the most banale, trivial nitpicks. Not your case by any means, but it's a relatively common occourrence in the comment sections of some my videos. Things like "this is supposed to be 3/4, not 6/8 meter" or "the panning of the background choir doesn't match that of the Cantāmus one". I wouldn't say it's a matter of reputation. I also wouldn't write such replies unless I have any observations or criticsm of substance to offer, as I believe it's a waste both of my time and that of the composer whose work I'm reviewing. Besides, this composition is technically a revised version of and older work: a repost, if you will, so I wouldn't blame more seasoned members who frequently comment on my posts for merely withholding what has already been said before. I had never tried this double-scoring method before, and I must admit it sounds as effective in rendering more human-like expression as much as it seems to pose a whole lot of work. The closest thing to this I usually do is manually inputting the exact tempo gradation values for the ritardandi at the end of each piece, since before MuseScore 4 came out there was no way to insert working rallentandi automatically into the score, or at the very least, not that I knew of. So in order to cover my tracks while still keeping those tempo markings functional, I manually alter the text format to make them invisible, even inside the program itself. That alone often turns out to be an absurdly tedious process and I hate it. At the moment I doubt I could even imagine myself inputting all those rubatos and expression markings and then subjecting those to the same formatting process without cleaving my head open in half out of exasperation. Even if the improvements were marginally or even substantially noticeable, I have much more valuable things to do with my time than attempt to "humanize" the recording manually. The mere thought of engaging in such a tiresome toil for a result that could far more accurately and naturally be replicated through MIDI input or a simple performance recording sends me quite aback. I've heard of this software before. A Discord user by the name of @grpnr1345 applied the software's protocol's to one of my earlier fugues under the same guise, and the results were mixed for me, because the sampling and reverb values were just deplorable, turning the overall timbral quality of the piece essentially into a downgrade, but the altered recording itself, as well as the intricacies of its transformation, felt rather convincing. For context, the audio file in question has been attached to this post. Lastly, thank you kindly for your detailed review. As for the software you mentioned, you're free to apply the Lilypond protocol to my score whenever you feel like it or have time for it. It will most definitely be interesting to see how different users of the same software modify music in the same style, so you have my full permission and encouragement to "humanize" the recording as you see fit. Fugue in G-sharp minor No. 17 Pablo Marinero Cueto 2023 - Zell 1737.mp3 Fugue in G-sharp minor #17.pdf

I'll join

me me me. I intend!

Regarding the Criteria for the Contest I presume the rules include " ORIGINAL COMPOSITIONS ONLY" , Renditions & Covers Rejected ?

Oh reeeeeally... I can't wait to come up with some nonsense

I hope you don't mean that you're composing a solo piano type of thing for this competition... Since we're only doing trios, quartets, and quintets. Also.. are you intending to enter this competition or not? You haven't made that clear from your previous posts..

Hello Mason! I can well imagine how much you enjoyed having the chance to play such a magnificent instrument that literally fills the entire hall or church. And—even though you’re a professional pianist—I don’t think playing the organ is your daily routine, so you took the opportunity to improvise, record a video, and share it with us—thank you so much for that. A few years ago, I also had the chance to try my hand at playing the organ—at Gethsemane Church in Berlin. And I recorded a video as well, but—given my piano skills, which are “barely good enough for playing at home”—I can’t post it; that would be too embarrassing for me and others … What I learned is that while the organ is indeed a “royal” instrument, it is also a “diva” that, despite the magnificent reverberation in a church, forgives no mistakes in articulation, and that it is very difficult for a piano “player” to play legato consistently without the support of a sustain pedal. What I particularly appreciated was that you’ve chosen the key of B-flat minor for your improvisation. For me, this key is one that expresses solemnity, and perhaps also a kind of sorrow or suffering. This impression is particularly influenced by the preludes and fugues in B-flat minor from both books of The Well-Tempered Clavier (where the famous fugue from the second book was one piece I tried to play at that time, along with one of my own fugues...)

It seems you haven't attached anything since you posted? I'd love to hear/see how it sounds if you get around to uploading some audio or sheet music!

A divertimento for pairs of clarinets, oboes, horns, and bassoons, inspired by the wind divertimenti and serenades of Mozart. Any comments would be most appreciated! 1. Allegro.mp3 2. Minuetto allegretto.mp3 3. Andantino grazioso.mp3 4. Minuetto vivace.mp3 5. Presto.mp3 1. Allegro.pdf 2. Minuetto allegretto.pdf 3. Andantino grazioso.pdf 4. Minuetto vivace.pdf 5. Presto.pdf

Thanks very much for listening, and for your comments! It's probably because I'd been listening to so much Mozart before writing this that I included two minuets instead of making one a scherzo - but I also think the last movement provides that scherzando feeling. I'm glad you noted the modulations in the last movement; I got a kick out of writing that bit, as if the oboe realizes it got off at the wrong stop on its chromatic scale and then it takes a few tries to figure out how to get back to the right key.

Hey @Aiwendil ! Nice job on this elegant classical work! I would have called this piece "Divertimento in Bb for Wind Octet". But no matter - very enjoyable nonetheless! I love the unexpected discordant moments in the 1st movement! The 2nd movement almost lulls me into boredom, but soon enough a contrasting section brings renewed musical interest. The 3rd movement to me sounds like a peaceful countryside carriage ride. I'm surprised that you included two minuets in this Divertimento. I would have opted to write one minuet and a scherzo for variety's sake. But it certainly is vivacious and full of positive energy! The Presto movement is probably my favorite of the bunch! It's very scherzo-like with its constant sudden dynamic surprises. Another thing I wanted to mention is that the whole work is very well proportioned! Each movement is about 5 minutes long with no movement being more important than the others. Great job and thanks for sharing! I enjoyed it thoroughly! P.S.: I really loved the funny modulations in the last movement! They're full of Mozartean humor - almost like those polytonal moments in his Musical Joke! Thanks again!

Hello, this is my first time writing for choir. I am being commissioned by a local middle school to arrange Umbrella. I have just the bridge and a final chorus to add, but I wanted feedback. My background is percussion so I don't want to accidentally make anything to jumpy or impossible. Please be specific in critiques, I'd appreciate it! Thank you!

Hi @Fruit hunter ! Quite an interesting work full of extended techniques and giving each section of the chamber orchestra interesting parts - including the Violas! My only gripe as a composer and listener of your work is that in this case it seems like there is no justification or musical reason for any of your gestures. The piece seems to be made up primarily of interesting ostinati and various syncopated gestures. This somehow manages to create some musical interest. But, for my own taste, I prefer the musical justification for a piece's existence to come from the themes/melodies which from my perspective, this piece doesn't have. Still, it does work - and I could definitely imagine it as programmatic music for the approach of a black hole. I don't see the "falling in love" theme as very fitting to this piece though. But an approach to a black hole definitely could work. Thanks for sharing!

Things added: bass distortion turned down- key change and second chorus- effects to various instruments- bossfight progress 3.mp3

You should be our ambassador for gif badges haha.

I'll be the 1st to Accept this Badge.

aight im in

Hello again! After a few days of chaos in my life, I was sidetracked from getting these comments done. Attached on this reply is a pdf containing my annotations to your Score as well as two pages of comments at the end for simplicity. If you have any questions, I will do my best to answer! PDF: A. Karatzikis - Land of Gods (ANNOTATED).Pdf

Something better. Trio. I am.

Unfortunately, I will be busy this time of year. I am hoping that everything becomes less busy for me during the summer. Good luck to everyone.

THIS IS OBVIOUSLY NOT AN ENTRY FOR THE SPRING COMPETION, LANDSCAPES. https://musescore.com/user/96214813/scores/33034298 This is my second nocturne, dedicated to a fellow student from Year 7. He is an extremely talented beginner thus able to play harder stuff. Moderato-Adagio, Db Major, 3 minutes 22 seconds, and 60 bars. Very short, for me. 5 pages of A4, March 23rd 2026-April 2nd 2026. It is in rondo form, with a cantabile theme. As always, my music is NOT AI Generated. The piece starts with the Submediant, a bombastic octave, here, going to un-resolve in to the V of the V. Then, it decides, to go on a weird cadence of that chord progression I have no idea how to describe because I was just chilling and I was like yes! That feel and what. So yeah. And then the dominant with the minor third thing. This rondo form is more like a ABACA type of thing, so yeah that is it bye.

Very proud of you my guy, keep us all updated!

I got "way-too-drunk ragtime" vibes haha, this is great! I think the constant accel and rit added to that flavor as well. Nice work there Peter

I want to join this competition

Let this comment mark my intent of joining this competition. Good luck to anyone who may join and I am excited to see whom may take up arms in this fun little game of music creation!

Hello @Bjarke! Since you mentioned a few “points of doubt” or areas that could be improved, I have to say that I really liked the piece in its current stage of a „sketch“ and the questions you pointed out are to be taken into consideration, although I would not see them critical. At first glance at the score, I had the impression that the piece might be too repetitive, but upon listening, I feel that the repetitions—with the use of slightly variations—are used effectively and do not make the piece boring overall. I like the rhythm and the continuously forward-driving tension. I could imagine that a performance by a real pianist would mitigate the remaining impression of monotony and mechanicalness, since a human performer would naturally bring more variety in articulation, dynamics, and tempo, as is the case in the current recording! As for the score, from a pianist’s perspective, I would feel uncomfortable with a number of passages where too many ledger lines are used, making them difficult to read or even unreadable. And I believe I have spotted a few places where the chords of the left and right hands overlap, i.e., play the same notes (for example, in measures 49, 50, 85–88). Correcting this would actually simplify the score.

Yesterday (April 1st, 2026), I was able to perform on the Margaret Comstock Hall Concert Organ at the University of Louisville. With help from my teacher, we had a lesson on the organ in the evening, and I was given some time to mess around and improvise before we left the hall. I hope you enjoy my impromptu organ work! 🎹 https://youtu.be/HPDI8Vhj2L0

Very true! Actually, as a fun fact, I have begun my journey with the Organ and have been taking lessons for it since the New Year. It was the first time I played on the organ here in our university’s concert hall. Thank you for sharing your story; it’s crazy to think how small the world can seem and how similar our experiences may be. Bb-minor just felt right at the time :)

Hello everyone, It's been a few months since I wrote anything. My last cycle on Laforgues poems had left me a little dry! But this poet has not said his last word and continues to haunt me. So here is a new piece, black, full of soot... Note, you can activate the subtitle in English. Good listening. https://youtu.be/jXMz3lu6Jfk?si=tYOpdEBtnVSJVlfe

From program notes~ Event Horizon brings many ideas up, but the idea of inevitability is one of them something that you can't control and something that is bound to happen something that just leaves you laying around vulnerable to the vast cosmos This piece of music also types in with some personal experienceas well with falling in love with a four part structure bliss , self denial, in love and the singularity. "once you enter,there's no going back" * extended technique, there is a lot of overpressuring bow control. This is to create subharmonics, which will sound an octave approximately below the fingered note*

Thanks for listening. The analogy of crossing an event horizon is within love itself. The unescapable point of no return

Thanks! It's fun to try to include little witticisms or humorous moments while still folding them into the piece so that they sound "good".

Excellent! Could have been played after dinner at court with Joseph II. I would get in trouble, throwing some whole tone chord in or 20th-21st Century surprise of some sort! This has a great purity but also sense of humor about it. I haven't listened to the middle movements YET, but I'm sure they measure up. Reading your comment just above about the oboe getting off on the wrong stop and having to get back to key...I do that all the time. It reminds me of when I'm playing bass to my brother's guitar, covering classic rock, and we go into a jam...and train wreck, or near train wreck, but we chromatically wrench it back into key...there's a part in the piano sonata I'm working on that does this sort of thing, many parts, actually, but one in particular. Your last movement Presto does this well and sounds like something Wolfie might have done; perhaps in a fantasia or musical joke?😉 Oh yes, I realized why it had to be in Bb!

Hey @jejrekmek ! You have such a unique style! Either that or I'm just not too familiar with your influences. Your recordings are amazing. The only thing I wish you included is lyrics to follow along with as I find it hard to understand the words in the recording. It's amazing that you got this performed and recorded so well! It seems so eclectic and eccentric. I'm not even sure how many performers are in this recording and what the instruments are. But I enjoyed it thoroughly! If only I knew the words I could enjoy it all the more deeply! Thanks for sharing!

Hey @skvlkin ! Nice arrangement! Since the usual range of Soprano singers starts at middle C and given that you're arranging this for a middle school choir, it might be advisable to transpose the whole thing up to C minor instead of Bb minor. That way all your low Bb's would be easily reachable by the Soprano soloist. And there doesn't seem to be any really high notes in the piece that would prevent your from transposing it up because of the high range. Also, C minor is a much easier key signature for the middle schoolers to read. That's my only advice and it's coming from someone who doesn't really know too much about voices himself. Thanks for sharing!

Hi all 🙂 Here's a short study for string trio in a rather oriental mood. Hope it will delight you. Best regards, Marc My Shéréazade.mp3 01 - Conducteur - Etude pour trio à cordes n°11.pdf

You have to be EPIC... before you can be an Ambassador.

It’s a meticulous piece of work and it sounds good; however, I feel that while the arpeggios work well on the harp and even the vibraphone, they don't seem very idiomatic when played repeatedly by the woodwinds (clarinets and bassoons) or even the cello. I think you’ve tried to be very faithful to the score, but the orchestra doesn't behave like a piano...

I didn't know you were a cat!

I think I'll put a piano part after the drop, but I have a problem. Recently I had to re- download windows 10 because my computer was as laggy as a potato, But it messed up my files, and that made It so my DAW doesn't load the right Instruments. I'm actively trying to fix it.

Hello @Fugax Contrapunctus ! I’m a bit surprised and even disappointed that your fugue hasn’t received a single review over the last two weeks, and so I’ll try to be the first one. Perhaps the reason is that most of the members hesitate to write a „I-have-very-enjoyed-your-playful-piece-Thanks-for-sharing“ reply because of your reputation. I’m thinking of your razor-sharp introductions, packed with background knowledge and specialist terms as well as that counterpoint – fugues and even perpetual canons – is considered to be very hard and not everybody is experienced enough to give profound comments. The choice of the subject for your fugue – I think I’ve already watched the video a year or so ago – from the G sharp minor fugue of the WTC1 has captivated me since that particular fugue is for me a distinctive one and one of my favorites (while there are many). The original key of G sharp minor has such a characteristic mystical and gloomy mood reminding me somewhat at Halloween – and interestingly your „Halloween-fugue“ which I have seen on YouTube, too, is consequently also in that key! And even your A minor version retains that pitch nearly exactly in the tuning (A=415) you’ve chosen! Even if you use the subject from Bach’s fugue, your fugue is a completely different one – showing which incredible possibilities counterpuntal composition offers – always having material with which to compose. While Bach’s one has a more walking character, your one has a continuous flow due to the complementary rhythm created by the semiquavers in the counterpoint and the episodes. That made it not as easy for me to discover the subject entries, so that I took the time to look in the score thoroughly and annotate them; I think I’ve detected the following ones: • Exposition: Bar 1 (bass, a minor), bar 3 (alto, e phrygian), bar 5 (soprano, a minor) • as sole subject entry in the 1st episode: Bar 13 (tenor, b minor) • 2nd Development: Bar 23 (alto, a minor), bar 27b (tenor, g minor), bar 29b (soprano, c minor) • 3rd Development: Bar 35 (bass, d minor), bar 39 (tenor, a minor), bar 41 (alto, e minor) • 4th Development: Bar 47 (bass, a minor), bar 49 (alto, e phrygian), bar 53 (soprano, a minor) Now I feel comfortable enough voicing a few points of criticism, which—intended as suggestions— could bring the experience of the listener and the reader of your score to another level: What prompted my “analysis” above was the fact that the subject entries are relatively difficult for the listener to perceive. You have – for example – omitted the staccatos on the last four notes of the subject in all recurring entries. Or to be more clearer, there are no articulation, phrasing, dynamics, pedaling and tempo marks (except the ritardando in the coda) at all. This might be completely intentional, since such annotations were unusual in the Baroque era, but - in my opinion – a human player would always apply that to express its interpretation, and I’m sure that was also the case during Bach’s time. And for a recording from a „software“ it is essential to apply these things to achieve a – more or less – realistic impression and to avoid that the recording sounds too mechanical as it is inherently the case due to the „exactness“ of the midi output generated from the „pure“ score. I have made the experience, that investing effort to articulation, phrasing, dynamics, pedaling and micro tempo changes brings a huge improvement of the realism of the recording and made a piece I nearly was going to throw away since I felt it boring worth to listen to. Since then, I always maintain two scores. One as the „printing“ score to be used for playing from, and one solely for the purpose of recording in the software. I do so with all of my pieces, and the „recording“ score is full of exaggerated articulations, dynamic marks and even micro tempo changes to achieve a satisfying, more realistic recording result wherein I can express my ideas about the interpretation. I must admit, that I have the temptation to take your fugue – if you don’t have anything against -, type it into my software (I use „lilypond“) and add the articulation, dynamics etc. according to my interpretation. I would be excited how it would sound like. (I can’t promise to do so, perhaps soon or in a year or never, regarding the time I find.) A last comment on your score: When I’m looking at it at the first glance, there are some intervals that seem to be unplayable or uncomfortable to be played. I’m sure, that all of them are playable, but you have (while done otherwise) omitted to take over the note in the other hand. This might be better for reading the score for analysis purposes (only). But when coming to playing and especially sight-reading and a note of an interval is written in the “wrong” staff, the recognition pattern that a sight-reader normally uses to identify that interval is inherently lost, forcing the player to identify a single note and add it to the chord/interval being played, which slows down the process. Consequently, such situations require practice and/or memorization, which contradicts the approach of sight-reading and playing the piece “without practice.” Therefore, I very appreciate scores where the chords/intervals are notated as a complete pattern in that staff where it is to be played by the respective hand. I must admit, that such a score looks sometimes a bit „cluttered“ because of the „kneed beams“ and sometimes cross-staff note stems (producing sometimes problems for the collision resolving with dynamics, slurs etc), but if the player finally makes the respective annotations by hand in its score, the readability is reduced, too.

Hello, I'm looking forward to the new contest and would therefore like to announce that I will be participating. Unfortunately, my favorite among the topics – „Mock-ups, Mash-ups and Medleys“ – did not win the poll, but „Landscapes – Soundscapes“ also sounds very interesting – while also very challenging. The duration of two month seems appropriate to me – not too short and not too long. I think depicting a landscape musically with no more than five instruments might not be easy (though still better than using a solo piano)—usually, painting “landscapes” requires the use of a full orchestra. But let’s see what happens ...

Hello I think this is a beautiful piece. The melodic phrases are truly lovely, and while it doesn’t aim for an overly virtuosic style, it does evoke the Romantic era. I agree with everything @MK_Piano says; I think he has a valuable mastery of the piano and this style. I’d highlight one thing he mentions, which is to really reinforce the overall structure of the piece. Give it a clearer ABA form. I think the modulations are fantastic, but I also think a return to the starting key would give it more impact. I also agree regarding that 2/4 time signature. Rather than finding it problematic—since I see it as justified by what’s happening there, the modulation and “precipitation” into another harmonic region—it’s the fact, as he also pointed out, that it isn’t repeated in the recapitulation. A wonderful piece of work.

Hello, Since the duration of the pieces has been set at around 5 minutes—which I think is very manageable—and I think the evaluation template is great, I’d like to participate, to the best of my ability and based on my knowledge, as a reviewer... Please let me know if that’s okay. Best regards.

I will do the thing that is writing something or other for the thing mentioned above, and things. (I am declaring my intent to participate. for those who have to think a little bit too hard to figure that out) ☠️

Thank you! Yes please provide me with feedback! It is always welcomed...

"Night Train Home" I wanted to write a jazz instrumental but never studied jazz technique before. So I dug into jazz theory three weeks ago and began writing my first jazz quintet! I wrote all the chords and notes and performed the virtual instruments on keyboard. Except drums which started with midi loops that I heavily edited. No AI. Comments welcome!

Hello! This piece is dedicated to a friend of mine, he gave me the text and i quickly got working on it, i finished it in 1 day and im pretty proud of it. I tried to mimic the style of Orlando di Lasso a bit but it didn't quite work out the way i wanted, so i just decided to stick with my own style. Enjoi! Text: Corpus omne perseverare in statu suo quiescendi vel movendi uniformiter in directum, nisi quatenus illud a viribus impressis cogitur statum suum mutare.

Hello people! I was searching for some of my old music and found some dances I composed a long time ago in the sequencer (before I started writing on paper). I took the old midi of this minuet and imported it into MuseScore and tweaked it a little to make it look nicer. I am sure that this does not follow the traditional form meant for a minuet (binary) - I don't think I was trying to write in any particular form when I wrote this nor follow any particular rules in voice leading and counterpoint (so I am sure I break some rules such as the one about having melodic tritones). Let me know what you think! I wasn't planning on publishing this as I am currently working on something else but it took only a little of my time and I've never showed it to anyone before. Your comments and suggestions would be much appreciated!