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I'm glad most people are favoring the fun part of the competition rather than monetary rewards. I think it's best to keep it that way for now, and your divisions would be good to use as the badge rewards instead of what we did. However, since we wanted it to be a poll instead of actual judging this time (it was thrown together pretty quickly), I like the categories we used as easy fun ways to vote. In hindsight, as I voted, I noticed there wasn't any "most fun" category, which yours clearly would have won to me. @PeterthePapercomPoser pointed it out in our discord, and we should've had that category. These are easy ways to improve managed by experience and feedback. With actual judging, your way is the way to move forward imo. More afterthoughts: I like the poll as an alternative to judging, I think both are equally valid. I'm not a fan of seeing who you vote for, but I know I'm in the minority with that. The framework for assigning numbers kind of got out of hand imo, but I'm glad people seemed to have fun with it. It wasn't necessary, but I'm glad it was an aide for people in determining which pieces they liked best. Being up front about WHAT we would be voting for would maybe be better for future poll based competitions.

piano orchs.mp3 um (1).pdf

Wow! I drop this here and look away for a moment (or several weeks), and y'all bless me with an embarrassment of riches in your comments! I'm so sorry I'm just now getting around to replying, but I've been a bit unwell. I suffer from Bipolar Disorder Type 2, which causes dramatic mood swings fairly frequently (I also have ADHD, but that's another story), and over the last couple of months I've been having a lot more bad days than good...some days I have trouble even getting out of bed, which is a pretty serious depression. I saw my physician recently, and he adjusted my medications, so I'm hoping to feel better more often soon. Today happens to be an exceptionally good day by recent standards, thank God. Thank you very kindly to all who listened and commented. I'm going to try to reply to various points and specific questions in these posts in the order they came below. I appreciate your complimenting the orchestration. I've never studied orchestration formally, I just put down what I hear in my head pretty much. Are you an oboist? Just guessing from your user name. I should probably post my oboe concerto and see what you (and others) think. Ah yes! That secondary theme is one of my favourite moments in the whole movement too...and you mentioning it gave you a similar feeling to Beethoven makes my heart flutter! 🙂 Oh my God! 😞 I had no idea! I suppose I've never actually looked at a score for a concerto. Thanks for bringing this to my attention. Thanks! I'd love that too. There is a chamber orchestra in Wichita that performed my 9th Symphony a couple of years ago, I've thought of showing the score to their director to see what he thinks of it, and if he'd like to program. It of course calls for a first-rate flautist, but maybe he's got one in his back pocket. I'm going to take your suggestion and leave this piece just as is. Was it Beethoven who retorted, "it wasn't written for you" when someone complained that his work was unplayable? Everything is unplayable until some intrepid soul plays it. So, you liked my Polonaise eh! I'm very gratified. It still brings up the hairs on the back of my neck, especially the ending. I've written a number of Polonaise insertions in various movements of my work, but this is the first time, I'm pretty sure, that I made a whole movement out of one. It's so grand and expansive. I did some research online to see how the dance was actually done, and it's wonderful! I read somewhere that in Europe, and especially in Russia (and Poland I'm sure), the Polonaise was the first dance played, to give everyone the opportunity to show off their fabulous clothes. And yes, it was me who wrote that my favourite National Anthem is that of Poland, which amazingly enough is a Mazurka. I've written a stand-alone Mazurka as well, for strings, as part of my Sundry Dances collection. By all means, give your vision of blending the US and Polish National Anthems a try. They share the same metre, which is part of the puzzle solved already. Thank you! What inspired the piece? Nothing in particular. I was driving to my friend's house one day, and I came up with the idea for the opening theme out of thin air. it happens a lot like that to me. When I got home, I plugged it into Finale, and in a few hours, I had the orchestra introduction finished. I'm almost ashamed to say that I've never read an orchestration book. I taught myself orchestration, basically by writing down what I hear in my head...if I don't hear something in my head, but Finale playback sounds like something is missing, it's trial and error to find it out, but most of the time I hear things more or less fully formed in my head. I'm more like Mozart and less like Beethoven that way, though these days I'm trying to emulate early Beethoven more. Someone else here recommended Nicolai Rimsky-Korsakov's book, which I have been told is excellent. Hector Berlioz also wrote a "Treatise on Instrumentation" that I gather may even go even further afield, being that he was an extremely experimental composer for his time. Good luck! I didn't used to be a big fan of concerti either. It took me a long time to finally write a whole one (my Horn Concerto in E-flat of 2014). There are so many really great concerti that for a long time i just didn't feel like I had anything in particular to add to the pile. But my feelings have changed, and now I have several other concerti planned, though not started yet. I really want to write concerti for piano, violin, and 'cello. Thanks for your compliments and comments on all three of the movements. I'm so glad this piece made you feel "right at home!" And thanks for sharing this piece with your friends! By all means, if you'd like, subscribe to my YouTube page...I have literally hundreds of scrolling-score videos of almost all of my music that I consider worth sharing there. I can always use more subscribers. 🙂 I use an application call Bandicam. It's pretty easy to use. I recommend paying a few bucks to buy the full version of the software, or you'll have watermarks all over your music. Just set the area of the screen containing your score (in scrolling mode, preferably, if available on your notation software...I use Finale, for now anyway), hit F12 to start recording, then hit play in your notation software, and voila! When the piece is done, hit F12 again, and recording stops. The output is an MP4 file, uploadable to YouTube, and a WAV file. Hope that helps. Dear God, it's 4:17AM Central Daylight Time and I'm just now wrapping this up. Thanks again all of your for you kindness and generosity of spirit! All best!

Hey @Tunndy! Although I don't think that this orchestration is entirely in good taste (with some parts still sounding quite mechanical and robotic such as especially the triplet 16th note runs) I think it's a huge improvement over your other orchestrations of famous piano pieces! You didn't include the piano in the orchestration as a crutch, and you use the instruments mostly idiomatically, making good solo instrument choices and giving the different instruments a chance to imitate each other creating changes in timbre that were original and most definitely not intended in the original. I like how you let the solo flute lead with the main melody, using the strings at first only to outline the harmony. Later you include some variations on the main melody to extend it. Then you include harp arpeggios in a way that sounds appropriate to a harp rather than a piano. You also create lots of variation and contrasts between restatements of the melody that in the original were the same. I like your use of dynamics and thickening up of the texture and creation of dramatic moments with the timpani. All in all, I think this was a very successful orchestration! (despite some things I would have excluded) Great job and thanks for sharing!

Hello my dear composers. Here my 3rd movement of my Piano sonata no 2. A Menuetto with Trio . I hope you like it

Nostalgic vibe there. Do you think of the harmony first or melody?

Greetings! Haven't stopped by in a while, thought I'd take the occasion of winning the 20 Year Membership badge (!) to drop in and share a big something I finished recently. This is one of those pieces I have worked with, off and on, for many years - I began composing it in 2001 and just finished it this summer. I cannot account for exactly why it took me so long to bring this to completion, except that for much of that time I didn't feel worthy of the material I had sketched, and couldn't readily come up with ideas to match it in quality. This piece is in my usual Classical style, unusual mainly in that I have employed an exceptionally large orchestra, including three trombones. Ostensibly, it is written for instruments of the period, roughly 1800 to 1810, though I have it on good authority that the flute part is in places nearly unplayable on a flute of that time - not impossible, but extremely difficult in such places as the frightful two-octave ascending chromatic scale in the first movement, and the mortifying cadenza in the third. Ordinarily I would have edited the piece on such advice, but there comes a time when artistic vision must prevail, and this was one of those times. The opening movement is a standard Sonata-Allegro as typically modified for concerti in the Classical period. The second movement (Andante) is broad and expressive. The third movement is a Polonaise (Vivace alla Polacca) in the form of a Rondo. I hope you enjoy the piece, and as always I look forward to any comments you may have. Thanks!

Hello there! Before, I had the project in mind of writing 12 piano preludes, and that was just dandy. I don't know how consecutively I'll write more, but a few ideas have lingered lately so I figured I would dabble at it again. Here's a very short one in C, hope you enjoy!

Piotr, Thank you so much for doing this massive Muzoracle casting for me! I am absolutely blown away by the effort and thought you put into interpreting it and composing the music. I love how you translated the 'Silence' card by starting the piece with a single, isolated A note, and then brought the music to a beautiful, balanced place with the Violin's high chord for 'Harmony.' It's amazing how you used that whole ensemble—the Trumpet, French Horn, Flute, Violin, and Vibraphone—to tell the story of the cards. Hearing how the piece resolves on the final E♭ major chord after all that complexity gives it such a confident feeling! It actually makes me feel quite hopeful about my breath, notation !

Hello again @Tunndy! Nice ideas! I think the following parts with 16th notes: should be notated as either being in 6/16 (or you could double all the note values and use 6/8). I've marked the strong beats as red down arrows and the weak beats as black up arrows. That's at least how I hear the rhythmic stresses in your piece. Thanks for sharing!

The ideas you have written down are very good ,either continue with the structure you have with your peice or use these ideas in variations and what not. it looks like you already set up some variations as well. Sometimes I think when a dotted quarter note that is unisonly played feels a little bit amateur to me. If you wanna sound professional, definitely fill in those spaces. Like a downward 16 note run you could use. The flow and direction of the music is very open and you could benefit from a lot so definitely keep on finding and trying what works best for you anyways good work and amazing work.

thank you so much!

Morning @Thatguy v2.0 Here is mine review of the prelude: The overall structure is built is first on opening phrase. I love how you use this idea and expand on it. The anticipation of each chord of each phrase is nice resolution of the chromatic raising line. I think the implied harmonies: I-V/V-bII6-I. This now makes ask...why are we going from V/V to bII6? 🙂 The answer: this is not a typical resoultion of the seconary dom...

Hi @Vasilis Michael! It's as good as your usual style with fleeting harmonic progression like the one go to Ab major at the start of B section of the Minuet in b.8. The Trio is really dreamy and definitely with Schubertian influence there, especially that turn to minor in b.56. Thx for sharing! Henry

Hi @gaspard! Nice performance. I always get fascinated by early instrument performance with lots of ornaments. The Virginal is a beauty both for its acoustic and its look. English music was much more colorful than the Ars Perfecta back then. Thx for sharing! Henry

Hey VInce, I like the simplistic style here and the smooth voice leading. I will make sure to try this on piano and record it. Henry

@PeterthePapercomPoser I acted as if I was real judge in official competition. Entries have to meet the core requirements before passing onto the next round. So that is what I did first. I check to see if they meet the core requirements of the competition. If they failed, at least, I could look over the score help them. But it would go further than. If entries pass the first round, then, I come back and do score check and playability. Once that is done, I look at different textures, harmonies, and such. I notice the entries used a modern harmony: clusters, chords built on seconds, atonality, ect. I loved it. In the 20th century, traditional forms, we all used to, is throw out the window. So we have to be more creative with time, form, and structure. I have a feeling with next one: entries will be tonal. Hahaha

I think this question comes from the wrong place philosophically. When one asks the question "How do I compose faster?" one is really treating themselves like a machine, the assumption being that the more trial and error, the more one learns. Take this anecdote: While this anecdote addresses the concept of craft, it doesn't really get at inspiration. I believe that the question any artist or composer should really be asking themselves is "How do I enjoy music more?" or "How do I enjoy writing/creating more?". Without addressing this question one is quickly going to crash into a wall called "burnout". The pattern behind one's creative output is likely to become something akin to this: 1) Overexertion 2) Exhaustion 3) Creative stagnation 4) Increased self-doubt 5) Repetition. Asking the question "How can I enjoy music more?" will lead the composer towards music that they want to emulate, setting up a pattern of: 1) Discovery 2) Epiphany 3) New utility 4) Integration (or Refinement) 5) Sharing 6) Repetition (I won't lie, I partially used Google Gemini to help me come up with more healthy creative habit steps)

I think it's a pretty good piece of music, so I'm satisfied with the result... 😄 It seems that blatantly copying someone's style is not my real superpower at all... Thanks again!

But I invented the baromantic style. There's nothing wrong with that! I'm an innovator...

Hi again @olivercomposer! I think with the way you're using the ornaments and little trills here and there, to me it sounds more Baroque now! LoL

Hey @MK_Piano! Great ideas so far! I think what I find confusing about the beginning of your main theme (after the short 4 measure introduction), is that at first it seems like you start the piece on an accompanimental one measure vamp in the strings. So the phrase actually seems to start on measure 6 in the Bassoons. That serves as the antecedent phrase of a musical period. It lasts for 4 measures from bar 6 - 10. That's just fine and dandy, but then the consequent phrase doesn't come in until measure 11 in the Bassoons once again. So it seems like you might be including that one measure vamp again as part of the phrase, in which case it becomes an acephalic five measure phrase. I know Haydn and even sometimes Mozart were known for writing five measure phrases. I am not sure if it is working here. If you are happy with it - definitely keep it! But to me it would sound better if you concatenated the phrasing so that the consequent phrase would start at bar 10. This confusion about the phrase lengths continues into the 2nd iteration of the phrase at measure 18. The phrase starts right on beat one, so this time its not acephalic. But then it continues for five measures from measures 18 - 23 with a slight 3/4 hemiola that's then concatenated to terminate on beat one of measure 23. To me this definitely starts to sound awkward and confusing in the phrasing. When I first listened to the piece without looking at the score, it sounded like you changed meter to 3/4 and then abruptly back to 4/4. I felt lost as a listener, not knowing where the phrase was going rhythmically. So although kinda awesome, the piece does have many structural flaws that confuse (at least this) listener. When the piano comes in on the theme later on in the piece (solo), you do concatenate the phrases to 4 measure phrases and I think that does kinda work better. But I think as far as the big form and macro-tonal plan is concerned, the piece seems to repeat too much. I think if you had included the contrasting 2nd theme in the exposition before doing a 2nd exposition with the piano that would have made more sense. But I have personally never written a piano concerto in sonata form before - I've just written two theme and variations pieces for piano and orchestra. So all my experience is in concertante type piano concerto writing. Thanks for sharing and I hope some of what I had to say was helpful/useful!

Overall speaking, I quite enjoy the format and atmosphere of this competition. I think the judging mechanism of this competition is good as, 1) Variety of awards/ scoring criteria - It gives recognition to the composers for certain aspects of his music, and allows (specifically growing composers) much specific target/ direction to enhance. Moreover, appreciation to "good" music in some cases where the music is not fitting to the given theme, but is still pleasant to listen to. 2) Qualitative - Please keep the scoring template optional. IMO the scoring template is a benchmark to distinguish the relative performance of each entrants - while the scoring scale may be inconsistent between different judges (i.e. non-linear and subjective), at least that serves as a tool to establish consensus between different judges the rank of each entrants.

Hello everyone! My thoughts about the Halloween competition: 1. The scoring sheet help to me to scored each entries as I review them impartially. 2. I think it will be those who are new to grow. 3. There are so many entries, including me, that wrote in different styles. I think if we had a competition that highlight these styles it push members to write new styles. 4. Maybe we can one in the future that monetary reward. But now? 5. For now, let us keep for fun until members mature enough to do official ones. (Even on here)

Thoughts on my current rough-drafted ideas / progress on a new symphony orchestral score I'm working on? This is a very rough draft. lol. The form isn't quite proper right this minute. Better transitions and more complex sections will be added in time. Thanks in advance 😉New(2).pdf New(2).mp3

In all the years past, the Christmas Event was just an event - not a competition. It was a completely free event with no limitations on ensemble nor duration and no judges, or scoring. The intent was just to channel the spirit of Christmas (or the holidays or winter) in the music in any way the participants saw fit. And there were only two types of badges - participant badges for everyone who submits music and community organizer for whoever bolstered the event through an announcement post and submissions thread. There was never any popular voting or anything like that either. Sure, that's a great idea! Let me know what you think of the Category Definitions in the Competition Reviewing Template that I just added! Thanks for your input!

Duh it's good enough lol. Your teacher is awesome, you're awesome... I hope you win!

@PeterthePapercomPoser @Thatguy v2.0 Thank you for the replies! By no means did I mean to dissuade the structure you implemented. You cannot conform to everybody and no competition is going to be "fair" for every entry. You will have to find a system that is both fair, and not overly strict. I believe my logos was not as clear as I intended in my previous reply. Two things can be true at once and it is refreshing to see many different musicians advocate for a low-pressure means to simply write music; or share existing creations they feel have merit. At the same time, I do not want to take away from the people who are less experienced trying to throw in their works with professional composers. I do not see it fair if they do. As you hinted for the next possible event to be a Christmas one, with no limit on ensemble size, would it make sense to lump and judge a symphonic orchestra work to a solo sonata with piano accompaniment? Or a digital work to a sacred-vocal work detailing a hymn? This was the basis of my thinking in my OG reply. I simply wonder if there is a mesh between formal and informal. Here was an alternate take on my idea(s): Keep the judging by poll, and limit the votes to categories; as you did. With using a table for review, I wanted to suggest another addition to all the info you provided. You added a table showcasing the scoring system (7-7.9 = Average / Standard ). I meant to suggest adding a diagram that defines the words being used: Taste, Originality, Textures, Score Presentation, etc. Taste - Your personal score from 1-10 Score Presentation - How the score is organized / How easy it is to understand the score from 1-10 Originality - How unique does this score sound from 1-10 Creativity - How well the submitant made and used a theme from 1-10 etc. I thought it to be a good way to avoid confusion of the terms by defining the language you want to use. I do not believe that add-on to take away the fun aspect of this. Thanks again!

Hey @Mooravioli! No doubt your piano prelude is good. And congrats on having your teacher playing it for you! It's a pleasure and honor for you! I had actually listened to this piece before your teacher played it haha. I remember I said that I wanted the trio section to be longer, and I think you do extend it in this version! I think the flow is better now! The harmony and texture is very interesting throughout, they certainly reflect a sense of escape from the time of anxiety now. I really like the b.37 section, even though it's light-hearted, it's easy to ignore the beautiful counterpoint there. I also like the reappearance of the first theme where you instead use the texture of from b.37 first, before recapitulating the lucid texture in b.108. Really enjoyable piece, thx for sharing!! Henry

Have listened to all of this now. I noticed all but one of your movements follow the naming scheme of Mozart's Requiem. The suite feels mournful, with a flavour of Antiquity, and makes good use of percussion throughout. Sounds like Halloween music at times. The highlight for me was the mysterious last movement. Reminded me a little of the final movement of Holst's Planet Suite. This comes as a welcome relief, after the frantic dissonance of the preceding movements.

First of all, I have to say that I really enjoyed this competition! It was an intense two weeks—on the one hand, to finish my own composition/arrangement, and on the other hand, to listen to such a diverse range of great musical works. I think all the participants invested a lot of time, effort, and passion to achieve such a result! I must admit that – puh – reviewing seems to be harder than composing! We have seen a lot of atonality and non-traditional musical structure (to mention some, but not to be exhaustive all "Dima’s National Dance" by @Dima, "From Above, Now Below" by @Thatguy v2.0, "Diptych for Piano Quartet" by @Cosmia, "Aos Si" by @HoYin Cheung, "American Cryptids" by @Micah, "Fumage" by @Justin Gruber, "Clowns" by @sebastian Pafundo, "Woodwind Quintet" by @Maxthemusicenthusiast, "The Mist" by @Kvothe, "A Hollow Theme for Halloween" by @therealAJGS) and – on the other hand – more „beautiful“ and „well-behaved“ pieces (for example, "Ghost Town Requiem" by @UncleRed99, "Bagatelle No. 6" by @Omicronrg9 and "Dance from the skeleton ball" by @MK_Piano), which I very enjoyed, too. As „balanced“ between this two poles I would consider "Daunting Steps" by @ferrum.wav, "Trio Variations" by @TristanTheTristan and – lol - my own piece. Therefore, the decision was very hard and due to the subject of the competition, Halloween, the more outlandish pieces were in the better position. The dedications of the badges „spookiest/scariest piece“, „strangest/weirdest/most outlandish piece“ and „biggest thriller“ were – in my opinion – not so easy to distinguish, so that we have one glorious winner in nearly all categories, "From Above, Now Below" by @Thatguy v2.0, my best congratulations. Special thanks to @PeterthePapercomPoser for organizing that funny contest! What did you think of the official competition reviewing template? For me, the competition reviewing template was very useful, giving the focus what to review a clear structure. Even if I did not give a textual review according to the eight categories but only a general one, scoring according to the definitions (i.e. between 0 and 10 points) and calculating an average was useful and helped to determine the winner(s) for the different badges. I could also imagine that in future competitions, the template and the numbers will be used in an official sheet to determine the overall winner. In such a case, however, it would be necessary to formulate more precisely how we should award the points in order to achieve a fair result that can be used for such a calculation. I noticed that some of the reviewers often awarded 10 points to pieces/categories they liked, while I was a bit stingy with this top score (apologies to all participants). I would like to say that such differences in the use of scores between different reviewers, although consistent in their own assessment, could lead to a kind of injustice. What would you like to see in future competitions? I think, the most revenue of the competition is getting a lot of review in a short period of time. Therefore, I would like to keep the competition „just for fun“ without monetary awards. An interesting variant could be to keep the competitors and judges anonymous. Such a rule could be combined with the mandatory use of the template and its usage for the calculation of the winner, as mentioned above. In such a case it would be necessary to require that all participants review all the other entries to achieve comparability and fairness. However, such a strict set of rules could imply that some members would hesitate to participate, thus we could try out that for one competition, but should not apply it to all future ones.

My tribute to the current state of the world.

20247637.mp3 Sagai Go (Reprise).pdf I have reworked this piece since I last shared it, a few months ago. Sort of at a loss for what to do next, so I've been going over some older scores, correcting mistakes, improving harmonies and adding sections in places where it felt lacking. This score in particular, I had always felt was missing something; like the last section into the outro was rushed. So I added in a section between there to smooth out the transition into the outro, and have also changed the key of the score. I think it came out quite beautifully. I wasn't very scrutinizing to it for much else other than it's flow. If there are other mistakes that I missed, please feel free to call em' out 🙂

Yes, do check out my old-school Requiem! It is not death-obsessed, but rather a hopeful Requiem in a major key. The Introitus is Romantic, but it goes Neoclassical pretty soon after. I broke up the text just like Mozart did, and in the manuscript even had a funny where I wrote, in the exact place Mozart croaked, his apparent last written words: Quam Olim DC...da capo. Actually, start here! Requiem In Bb Major-Quam Olim II Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

Thanks for listening! My style goes with my bipolar nature. When I’m in a down cycle, it tends to be more dissonant and frantic, while the manic episodes tend to produce a more romanticesque feel. I based the structure for this off of Mozart’s, with a few omissions. That requiem is one of the pieces that made me want to be a composer and has always inspired me. I’ll have to check out your piece!

Thanks for taking the time to listen. The main mood of the piece is a little nihilistic, hence the frantic dissonance, but I’m glad you caught the more plaintive feel of the Pie Jesu. My intention was to conclude with a more mournful, but calm thought. Almost as a recognition of the evil in the world, but with a resolution to carry on.

Haven't listened to the whole piece, but enough to know that you are a good composer, but this style is not my cup of tea! I should talk; I used to write like that 34 years or so ago. I have simplified my style. On the other hand, the music seems to reflect the state of the world, THIS world at least, and without going into detail, I would say the problem with the world (plus ca change, plus se la meme chose) is that the lunatics are in charge of the asylum! 🤪 I wrote a Requiem in Bb Major, posted here in choral music, string orchestra. It is different than yours. I went old-school and mainly just doubled the SATB parts in the strings, though there are preludes and postludes, interludes, SOME figurations. It is modeled on the Mozart-Süssmayr Requiem in D minor, but it doesn't sound like Mozart, except in the occasional turn of phrase.

Hey Kyle @UncleRed99! It clearly is captivating and promising "rough" draft! I like the majestic tone overall. I think after the climax in b.31, before going to a quieter section in b.34 you can have a transition instead of just a chord, but it's just a draft now so it's fine haha! I hope the contrasting section in b.34 longer and stay away from the F minor for a bit longer too. Also in the last adagio in b.51 I would add more movement and countermelodies to vary and contrast it with the Adagio beginning, like adding tremolos and some quaver movements between the chords like in b.53 and 58. Thx for sharing! Henry

Oh no! I liked all the pieces very much. Your „Trio Variations” are neither „terrifying“ nor too „well-behaved”; I find them „good balanced.” That's why I placed them in the third category, right next to my own. (Hahaha, you voted for yourself ...)

MP3 Play / pause twinkle 0:00 0:00 volume > next menu twinkle > next PDF twinkle Rachmaninoff is crying...

Kotzwara. You can check yourself.

Hello, I enjoy this piece a lot. I appreciate the key changes and the harmonic context given. The rhythmic content is also really good. The only things I have to say, though is that the left-hand could be a little bit louder in the introduction in the first few measures first 30 most likely. Also, this is just a playability issue but make sure that some of the left-hand stuff if it goes above the staff to put in treble if need be. I think you’re already doing it but there’s some parts where there’s like six ledger lines on the left hand. But I enjoy the moment given off from this piece. Good job.

Hi Bjarke, Think it's a good piece; but the ending feels rather abrupt to me. If it were my work, I would end with a pattern of descending arpeggios from high to low register, followed by the chords you already have. Might also be worth experimenting with ebbs and flows in the tempo to create some rubato. Not sure it would work; but may be worth a try.

hello mark, thank you truly for your comment, there were many influences that went into this work: shostakovich’s jazz suites, a few latin american rhythms, and my own personal anxieties during that period. I think the trio was directly inspired by my efforts, in trying to find a sense of peace through writing. I believe the added extensions are default chords I usually navigate to, to bring color to the harmonies. This is a more personal work, but hope it maintains some individuality. elated that you enjoyed my work.

Very interesting harmonies, rhythms,and ,melodic lines ... Can you tell us something about your style and intent here? Jazz? I enjoyed your work. Mark

You're welcome! I enjoyed it! First, thank you for voicing your opinion! When we've done competitions with monetary awards and official judges in the past this was an issue that people have brought up. However, ultimately, when the different scores from the different judges were averaged together, as long as the judges tried to accurately reflect the differences between the various musical entries in their scores then once the scores were all averaged together, even if say, some of the judges scored the pieces in a different range of the scale than others, the scoring still worked to accurately reflect the differences in quality between the different entries. In the past when we had competitions with monetary awards, the entrants were kept anonymous by sending their entries by personal message to me. I would then add their entry to the submissions thread. I think in a free contest, this requirement might be too strict. And I personally don't like the idea of keeping the names of the judges anonymous because it discourages discussion and interaction between the judges and the members. Thanks for voicing your opinion!

Just relisten to it and I love the C minor version more 😁

Thanks Peter! I actually don't have a decent solo violin for MuseScore, but am hoping to pick one up in the Black Friday sales. Those included with MuseStrings sound hideous, so I refuse to use them! I do have a reasonably good patch from Cinesamples; but it has an annoying bug, where the dynamic is different on each pitch. It takes a lot of work to counteract this, by inserting a new dynamic mark on practically every note! That demisemiquaver (effectively a grace-note) on the flute in Bar 64 is audible on solo; but in the mix it's being somewhat drowned out. If I accent it, the note becomes too loud and squeaky: so there's not much I can do. I think it'll be ok with a real musician; though it's right at the top of the range: so could be challenging to reach. As for fermatas, my composition tutor doesn't like them: so he's instructed me to change time signatures instead. I often find myself drifting away from the opening time signature whilst I'm writing. It seems to be a natural trait of mine. It's just the way I hear/feel the music.

Funny!

Here are two songs for voice I wrote back in February. These are pieces I wrote shortly after a break to composition, I was too busy to write anything for most of last semester. They are a setting of Goethe's two "Wandrers Nachtlied" poems, famously set by Schubert and Liszt among others. I wrote this pair of songs on/around Valentine's Day, I had a lot on my mind and these were the output of that. I'll be performing them myself relatively soon, as will a friend of mine, and I will post a real recording soon. In the mean time, enjoy the MIDI 😝 Let me know your thoughts!