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Years ago, I've composed a Libera Me. When I wrote it, I started by a version a cappella. Finally, I decided to add an orchestra because I thought it could bring the piece to another dimension. What do think about this choice?

Hello! I've just realised I've been very absent from here for a few months, so here's a setting of the Kyrie I've done today in a couple of hours. It's very rough at the moment, so please excuse some score presentation issues! I'm regretting writing it as a reduction, and I think I will eventually present it as an open score, given all the different melismata in different voices.

Hi! I'm a senior in high school who plays piano and organ. Would any composers be interested in composing the finale of a four-movement piece based on a Ukrainian folk tune? My channel and I have been working on our "Symphonic Variations on a Ukrainian Folk Tune" for nearly 11 months. Without being overly political (political works of art tend to get dated quickly), our piece is a gesture in support of the Ukrainians and anyone else working for peace. This would admittedly be a tricky project. 🥴 1. The work would incorporate the folk tune "Long Live Free Ukraine": https://musescore.com/user/40554345/scores/7785305 , which is featured in the other three movements. 2. Also, the finale would need to incorporate ideas from the rest of the piece. This would help provide unity. An example would be the Ukrainian national anthem, one of the main themes of the opening Allegro Moderato. 3. It would be scored for piano, organ, a small SATB choir, and hopefully percussion. 4. The rest of the piece is surprisingly lengthy, so it would hopefully be at least 20 minutes in length to balance. (I do apologize if that seems like a lot.) 5. The work is not a piece of chamber music. We're calling for organ and piano instead of orchestra because that's much simpler. The choral finale would have the "feel" of a large-scale symphonic finale (think Myaskovsky or even Beethoven or Mahler 😳), successfully resolving all the tensions of the previous movements. Think big! Be a "visionary." Imagine that you could somehow resolve all the conflicts in the world through a single piece of music. 6. In addition, any potential composers would need to look over a current draft of the finale by the composer of the first movement. They'd incorporate whatever ideas they might want from the sketch in their composition. If they don't want to include anything from the draft, they definitely don't need to. (The composer and I thought that the sketch was unsatisfactory, but that it did contain a few decent ideas.) 7. I'm still working out what exactly what the choral text would be. 8. I'd be willing to pay up to five hundred dollars through PayPal. 9. The current structure of the work is I. Allegro Moderato (E minor, 13 minutes) [complete] II. Passacaglia (B-flat minor) [still in progress] III. Variations (E minor, 20+ minutes) [essentially complete] IV. Finale (E minor - E major, 20+ minutes) [unfinished] 10. Finally, I've recorded six of the third movement's variations and uploaded them to our YouTube channel, Classicore. I'll finish recording the piano and organ parts within the next few months, and other musicians I know will record the choral and percussion parts. We'll upload the finished project to the channel. https://www.youtube.com/watch?v=u5azSx8mwns&list=PLxww_oRF72uwahVSvXanfLYYHZilGYyMf This is admittedly a difficult project, but I would be incredibly grateful to find a composer to work with! If you're interested, definitely reach out! I'd appreciate it. Sincerely, Dominic Fiacco

So, I'm looking for commentary and opinion.... I've decided to begin another Orchestral work -in the hopes of having one around to submit to competitions in the future. I've decided that I want to create an orchestral tone poem depicting the creation as mention in the book of Bereshit (Genesis). My take is a multilayered approach that includes incorporating concepts derived from Quantum Mechanical understanding of matter from both the macro and microcosmic understanding. Thus, it's going to be a rather large scale work in scope that incorporates many different compositional techniques which I've already begun sketching out. Anyways, what I'd like to glean from others on here is your own personal takes on Haydn's Creation. Also, if any of you have any other works that deal with the topic of creation.... please share in. Haydn's Creation

Firstly, it has been awhile. I have to say I've missed the companionship, the camaraderie this site offered, and I've thought of many of you often over the past couple of years. So many times my hand has lingered over the ENTER key after I'd typed in this website's address — only to close my browser with a sad sigh. I can't tell you why because I don't understand it myself. Poignant memories of better days, perhaps? I can say these past 2 years have been difficult for me (and loads of others, I'm sure). The pandemic, the lockdown, the isolation... it took a pretty heavy toll on my mental health. My muse has been utterly silent. Utterly silent. Not a single note written or even hummed. I began to wonder if my days as a composer had ended for good. Thankfully — as you obviously guessed — that turned out not to be the case, and I finally broke my composing fast with this choral piece of a poem by Tolkien. I can slowly feel the music begin to stir inside me once more. Anyway, enough about my sad, sorry life. I hope this piece brightens your day and lifts your spirits. I'm rusty and out of practice, but I cannot tell you how good it feels to stretch these old composing muscles again! The recording is a bit pitchy in places (I had to perform all of the parts myself); hopefully it won't damage your listening experience too much. Thank you all in advance for your time. If you have questions about the harmonies and scales employed here, all you need do is ask. (In fact, I don't even care if you listen. Just a comment from you telling me how life's been over the past 2 years would be simply amazing!) Ah, it feels good to be back, guys! Very good, indeed.

Young composers of the U.S. and Canada, The Capital Hearings 2022 Young Composers Competition is LIVE! We are welcoming submission of compositions for mixed, unaccompanied vocal ensemble of 12 to 14 voices. This year, our 8th Annual Young Composers Competition is eager to hear your thoughts on how Light of any kind interacts with your world. If you feel like you have something to say–or find that something you’ve already written might speak to us–we’d love to hear it! All U.S. & Canadian residents age 18-40 are welcome to submit a 2-5 minute original composition (arranged for mixed, unaccompanied choir) related to this theme, and we especially welcome submissions from unique or underrepresented perspectives – and in unique or underrepresented styles. More information on the theme, guidelines for submissions, and submission instructions can be found at this link: https://www.thecapitalhearings.com/competition/ Submissions are due by June 15, 2022, and a prize of $1,000 will be awarded to the winner. All applicants will be notified of the final decision by July 15, 2022. Please direct any questions to composers@thecapitalhearings.com.

This is a piece I wrote for a competition in my area. I entered it in the vocal ensemble category, here is the description I had to write for my submission: "The poem which was used as the text for this piece deals with themes of heaviness and despair. While the music is written in the major, a mode some would consider to have connotations of lightness, it is here used to convey a sense of hopeful melancholy. The poem speaks of a weight associated with winter, and of a despair and questioning of existence. Due to this, it could be that Emily Dickinson was describing a kind of seasonal depression, a heaviness that’s associated with winter and is easier to bring to mind when your surroundings suggest it. Another reading is that she is speaking on the inevitability of death, and how that sense of despair is an unavoidable part of the human experience." Please let me know what you think of it, feedback is extremely valuable to me and I really like hearing other peoples thoughts on my music. There's a certain Slant of light.mp3

Here's one of the first choral pieces I've ever completed. Feedback would be great, thanks.

Liebe*r Komponist*innen, ich muss eine harmonische Analyse von Bachs BWV 4 (Christ lag in Todesbanden) - Versus 7 schreiben. Hier ist der Link: https://www.youtube.com/watch?v=ubWCRXefVTw Ich habe Kenntnisse in Harmonielehre und Akkordanalyse mit römischen Ziffern. Wie kann ich eine harmonische Analyse schreiben? Könntet ihr mir bitte einige Tipps geben? Danke im Voraus, Duo

This is a repost of the Confutatis movement of a Requiem, I have been working on for quite awhile. I made some minor changes in the orchestration, mostly in the second half of the piece. The first half is written as a simple, mournful canon intending to depict those condemned to the "flames of woe" resigned to their fate as their punishment is carried out. The second half is intended to depict angels descending from heaven, represented by the tremolo strings, to comfort those who have been saved by their contrition.

Some info about this piece: It’s based off of the poem by Paul Laurence Dunbar titled ‘Invitation To Love’. Unfortunately because of the program I use the performers in the audio file don’t sing the lyrics (words to the poem). This is the first piece of music I’ve written for a vocalist. Typically I only do instrumentalists and I didn’t know a lot at all about vocalists when I wrote this. I am essentially teaching myself, so if anyone has advice for writing for vocalists please help me out! Hope you enjoy!

Here my Dies Irae from my little Requiem I'm writing. Latin text: Dies iræ, dies illa, Solvet sæclum in favilla, Teste David cum Sibylla! Quantus tremor est futurus, quando iudex est venturus, cuncta stricte discussurus! English traduction: Day of wrath, that day in wich the centuries are reduced to ashes; as witnesses King David and the Sibyl! How much terror there will be, when the judge is about to come, to judge everything strictly! Happy for feedback! Soon I will upload the score but here is the audio:

Happy New Year everybody, Today is the first day of submissions for the Walter Hussey Composition Competition (with entries closing on June 30th). The competition is free to enter, and this year is only open to composers aged 16-24 on June 30th 2020. There are two cash prizes available for the winning entrants, and the work will be premiered by Reading Phoenix Choir in March 2021. For full details, visit www.walterhussey.com but in brief: - The theme is New Horizons - SATB to SSAATTBB plus solo lines if you want - Ideally unaccompanied - Ideally <3 minutes (the choir sing everything from memory) - Entry is by submitting a pdf and accompanying audio file (anything from rubbish midi to a multitrack MP3 will do) to info@walterhussey.com - Maximum two entries per person Hopefully lots of you will decide to enter!

I have written this as part of the Christmas music project. It's a revision of a carol I wrote a couple of years ago (which can be found here) based on Shakespeare's "Song of the Holly." It is for SATB choir and an accompaniment.

Hi all! So, another little arrangement of mine. I have written this for my quartet. And, I found it quite challenging to get the dissonance I wanted while really only having three non-melody voices to work with. I sort of went the amoeba route, where I had close harmony surrounding the melody. This is found in barbershop music, and there is some influence there. However, I tend to take things further than a barbershop quartet would allow, which I'm super chill with. Pay no heed to the difficulty of the music, as the people singing this are true musical paragons. It is probably one of the harder arrangements of this piece out there. I'm looking specifically for comments on musical moments that stick out to you. Things that you think may not be effective or fit in the narrative of the piece. Please also look out for spots where you think there should be courtesy accidentals. I put a lot in, but I suspect there are more I'm missing. Thanks in advance for your thoughts. 🙂

I have been assigned to create(arrange) this piece, I am worried it is too dissonant and a bit too unfamiliar. I changed the instrument sounds because it is easy for me to work with any other sound than the default vocal samples. Any constructive feedback is welcome.

I'd love to hear any thoughts you have about this piece, particularly about the clarity of the piano reduction. Ideally this would be performed a cappella, but it's nice to have a piano reduction for rehearsal or in case the singers need some support. There is some part crossing between the sopranos and altos. It doesn't go out of range for anyone and I liked the way the lines flowed for each part better this way. Any enharmonics you would mark differently? Psalm 133: 1 Behold, how good and how pleasant it is for brethren to dwell together in unity! Thanks for taking the time to listen! Here's a youtube demo video with the score rolling by:

Hey yc! I've been working on an SATB piece based off of Ralph Cheever Dunning's Poem called Driftwood. This is just a draft, and there's still some things i'm not happy with (and a serious lack of dynamics), but i'm hoping I can finish this piece and add it to my portfolio in a few months. :^) Please let me know what you think of this piece, and how I can improve it. Thanks. P.S. If you'd like more info, or if you want the piano version, let me know and i'll hand it over. P.P.S. If you'd like to perform this piece, please let me know. It'd be super cool to hear this with human voices!

So I cannot sleep and I composed this Agus Dei. Not gonna be perfect and will continue working on it. Attached are the audio and pdf score file

This is a work for SATB Choir and Piano that I wrote in 2017 for a competition. It's a moving work, and I would love to see it performed someday.

Anyone have a minute to pick at my piece? Thoughts on the piano part are particularly welcome since I'm not a pianist. Thanks! Who can ascend the hill of the Lord? and who can stand in His holy place? Those who have clean hands, and a pure heart;

I compose this O Magnum Mysterium just for fun lol. But I've put enough effort in it to make it sounds nice. Any advice and suggestions will be appreciated.

This is a Link on this website to Shelia's post about a competition, thought I would share in this sub-forum: @pateceramics

Hello all! I've been composing for quite some time now, but I'm new to this forum. It seems like a really cool place though. Here's my first Lied I've ever written, a setting of Goethe's Wandrer's Nachtlied. I got a complaint from someone else that the music is "too depressing" for the words, but I disagree with him entirely. What do you guys think? Comments on the music are also encouraged. Thanks in advance. The poem and its translation can be found here: https://en.wikipedia.org/wiki/Wanderer's_Nightsong Also a quick note, the Gb chord in m16 is meant to function as an F# chord going to the B minor section, I just didn't want to use all those accidentals.

Hi All, Just joined this place after somebody recommended it to me. I have this large choir piece that I recently wrote, and I'm wondering if anybody would like to give feedback on it? If you have an questions on what anything means, please let me know! Best Regards, Thomas Håkanson, aka Dusty