Kvothe

Entry: A Song of Beauty and Melancholy Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9 9 9 10 4 4 7 8 Average Score:7.5 When I looked at the score at the distance, the first thing I noticed was that Piano and According parts are not separated but connected. It appears as if it one instrument and not two separate instruments. You have to disconnect the bars between piano and the according. Another issue I noticed is that is weird beaming patterns and stems positions. For instance, in the pick-up you have steams downwards, that is not correct. When they are connected like that, it should be up, since the majority of the notes are above the middle line. It looks just nicer that way. Another thing I noticed is you break beams a lot. This makes harder to read! You do this a lot in measures where the meter is 2/4. The only time beams are not connected is in vocal music. I see no vocal part. You have a lot of unnecessary dynamic markings. Hairpins are wonderful things. I would not use mezzo dymanics as much. Possibly changing from F to P is more effective vs F to MF. Also save those tripple markings for special moments. However, this is highly creative. You have written wonderful textures using different instruments and timbres. I see no problem there. It was just overall engraving. Total: 60/80

There have been only three entries out of 14 who said they want to join.

As a pianist, those chords also impossible to play. Not even Rachmoninov would have wrote chords in that fashion! I think you need to carefully look at scores that use the harp, @Musicman_3254. Adler provided some scores to look at (and I included others) CPE Harp Sonata Caplet's Deux Divertissements Debussy's Sonata for harp, flute, and viola Belioz's "Rob Roy" The planets by Gustav Holst Pines of Rome by Ottorino Respighi

Like the classical style (period). Neo-classicalism returns the stylistics methods of the 18th century. We can use Stavinsky as great example. His earlier works were not composed in modern idioms, but reflective of how Beethoven wrote. Symphony of the Psalms is much like chorale symphony by Beethoven. I would include his ballet "the firebird" in the same way Russian ballets are written in the 19th century. It is his "Rite of spring" that is more dissonant and not "classical". When it comes to form, think sonata form and pieces that Bach wrote.

I agree with @Luis Hernández on the harp writing. That is not possible. The chords are too large for a single hand to play. This is why you need to look at scores that have harp parts in them. I can not emphasize this enough...score study is paramount.

Entry: "Your Daer Beauty lovelier" Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 6 7 7 10 4 2 9.5 6 total51.5/80 Average Score:6.4 Review: Melodic material: Cello line, which carries the melody, is even balanced. It introduces the main theme of the piece that is sung in baritone voice. However, we can't hear baritone signing the melody for the other instruments are overshadowing it. It would nice if instruments would drop out when the male voice is signing. Or giving a lighter texture. or only have one or two playing. This is paramount when writing for voice and orchestra. Score prep, instrumentation, playability. : There are several issues with the score. The hairpins are not readable with in the harp part; the bliss is not connected; solo indicators when you only instrument per player. Solo is used in strings where there is more than one player per part, and the composers wants only player to play. Holst did this in Venus. When he wanted to signal a solo player in the string section, he marked "solo". For the areas, where the solo is marked, it is preferred not to have the other instruments playing. This is applicable for oboe part, too. The held note in the reeds is not ideal. When you are writing for wood instruments, you have to remember, that need to breathe. Because there is no phrase markings in the cello part, the bowing will change on every note. I feel you can add more depth here. The triple stop at the end is incredible hard to play. You have wrote out the range of the Oboe'd natural range. In fact, that instrument is no longer in use. It is not in balance with the rest of the ensemble. The harp writing is unrealistic and lacks proper study. This score needs a serious revision on this front! Execution: Yes, this piece has met the core requirements for this competition. However, the overall mood just seems off. Creativity: this is indeed and creative and orginal piece. Form and time: It was difficult to what the proper formal structure of the composition was, and the timing was slow. Harmony and textures; Overall, the piece is mainly diatonic. There are moments of other modes with in the piece. The piece has colorful textures. Side note: Cantai can be used with Musescore.

entry: "You dear Beauty Lovelier, Still" Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 10 10 10 10 10 10 10 Total score: 10 Average Score:80/80 Review: Execution: the piece was with the given time frame and was written for correct ensemble. It exceeds what was expected for this competition. Score prep: The score was properly engraved. I did not notice any noticeable engraving errors. Playability, orchestrations, instrumentation: Each part that was written with in correct idiom and could. While the piano part is more suitable for advance players, I am sure it is playable. (as the live video shows us). The string parts are readable and can play state level string players and up. Structure: There is a clear sense of form and structure in this piece.

Ah yes, functional harmony. 🤨 Why would I pay attention to that if I was intentionally writing something blending minimalism and 20th century writing. :D

Recently, I had a string piece played by high school. The director said he would be honored to play more music from me. :D It is all about creating positive connections.

If you limit yourself to one style, you might restrict yourself, and make it harder for modern audiences to enjoy your work. The modern audience today still attends orchestral concerts. But the programs that orchestras schedule are mix from classical, romantic, and 20th century composers...and some times music from other media.

Possibly, yes. :) @interlect Ava Part writing does have melody and harmony. Arvo understanding of counterpoint is amazing.

Modest Mussorgsky piano suite "Pictures at the exhibition" certainly have been written for the orchestra countless times. Schubert arranged one of lieder into piano trio. Debussy orchestrated one his works. So, the answer is ...yes! In fact, that would be fun challenge for this forum: arrange a piano for certain ensemble. @Lithl That is one method. The other method is the old fashion way: write everything out. :)

Entry: On Pastel Sky Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 10 10 10 8 8 10 10 Average Score: 9.5 Review: I generally do not much to say about this piece. My only concern is that why is mallet percussion players switching to non-mallet instruments. Usually, non-mallets require a different staves. You also church bells as part of the ensemble. I am not sure if mallet percussionist would be able to play them (?). Those runs and rolls seem seems to fine. There is no issue there. I can say this was highly creative piece with different textures, harmonies, and themes. The overall structure is intro (Hymnal) then quasi rondo happening. That was fun to listen to. You went above meeting what was expected. Mallet percussion mixed with non mallets creates beautiful orchestral sounds and colors. This is usually out side my taste, but...hey...I thoroughly enjoyed. Please write more mixed ensembles in the future. It is started to grow on me. kvothe.

@Luis Hernández I also own Cecil book. His humor is rather intelligent. But at the time it was written, the alto flute was inaptly named bass flute. now, we both there is actual bass flute. So this is not correct naming. unlike Adler, he miss places other woods in brass section section. Again this is error on his part.

@Luis Hernández Fux is starting point for counterpoint. For tonal 18th century counterpoint: I would recommend: Piston and Kennan and either 18th century counterpoint by Gauldin or Baroque Counterpoint by Schubert.