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It's a long time that I hadn't composed a choral work a cappella. So, last month, I've composed this SSAATTBB piece with French lyrics. It's entitled 'Comme Une Rose' and it tackles three themes: The love relationship, through the metaphor of the rose, its scent and its thorns. Nature, through the wind that blows and scatters seeds, spreading life all over our Earth. Love, through a passionate declaration to the better half. So, this piece is just looking for its premiere! Do you like it? https://youtu.be/OqLnLF_yPDE

I think it's time to present myself to this young composer forum, so I would like to show you my very first professional work, my piano sonata in c minor. A piece in for movements that I started composing in summer 2017 and I finished in early 2018. The sonata was originally based in 3 movements, so in 2020, during the pandemic I decided to make a revision of the whole score and to add an extra movement. So, I leave you here the link to the YouTube video where you can hear this piece: PD: If you like my music you could subscribe to my YouTube channel and share my music. Thank you and enjoy!

Hello everyone, here is a new piece I wrote. It doesn't have a huge emphasis on melody or any kind of functional harmony, and it's also fairly repetitive. I like it very much, but would appreciate your feedback. Many thanks.

Hello, I am a modern contemporary music composer, what do you think about my new short piano piece called Flying Tears? Feedback is appreciated! Thank you and stay safe

New project loop I was working on, looking to see where stands.

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.

Hey gang, I posted this piece earlier when I was in the middle of writing it. Here is the finished product. This is the piece I composed over the spring semester during my first semester of composition lessons at the university I am attending. Please enjoy and let me know what you think! (P.S. Evidently when you use Petrucci font in Finale, the tremolo stops working, so that's why it appears in the score, but is not in the MP3 [do the midi problems ever end...?])

Guten Tag! This is one of the projects I have been working on this semester! Feel free to check out the concept behind it at this blog post: Composition Notebook: "Morning Birds" - the story. What I am attaching for ya'll is the full score (which includes the cues for the three different flute parts, but not the actual parts), one of the flute parts (so you can see what they look like), a MIDI rendering of all the orchestra and flute parts combined, and a MIDI rendering of just the orchestra part (Titled "Three Violin Version..."). One of the flaws of the combined MIDI file is that the flute parts are made up of several short fragments/'bird calls',as you will see in the attached flute part, and the players will be improvising which bird call they play when. In other words, it will be a much more organic process than a computer just playing them all in order, as happens in the recording. I think the MP3 of everything combined sounds pretty terrible and clamorous which is not at all the intent of the piece. I suspect that this chaos will be lessened considerably when real players are performing this. If anyone has experience writing this sort of thing, I would really appreciate any advice you'd have to offer. Also, I am happy to hear comments from anyone about this piece, whether they be about the orchestral writing, the special effects, or anything else. Thank you and enjoy!

New house track, hope you enjoy, this one is for the club, its progressive to an extent so stick with it i guess:) many thanks,

Hi everyone! Im new in this community and also new in the music industry. I ve been making beats for the last year, but now i try to make it as a rapper. I recorded a new song, and I want some feedback! Thanks! https://soundcloud.com/aroma-mob/5ebba-overheat-prod-by-mors

So here is the brand new track, devotion, this is the instrumental, the full version is coming soon, really hope you enjoy

So here is the first track of my latest EP that is coming soon. It takes inspiration from artists such as lorn, and has a very electronic, slightly gritty/dark feel that is designed to accompany image of a similar style and set a particular tone/atmosphere. Certainly game/film music if you know what i mean, hope you enjoy and dont forget to follow and spotify:) Many thanks

So here is my new track, some new inspirations ans some old for this one off, slightly more organic track. Hope you enjoy:) might also be worth noting this may have vocals eventually

Hi everyone, i´m Fernando Ocegueda, i´m 17 years old, i´ve been composing for a year now, so i´m pretty much new to this whole composers world, but since i started i´ve been making songs like crazy and i find it very relaxing, it helps me relieve stress like in a therapeutical way. And since i´m starting to get serious about it i´d like to receive some opinions about what i´m doing. I´m new to this forum and i´m really glad i have found this site because i think it´s a great idea that many composers can help each other out, and, if you let me, i would really like to give people some feedback about their compositions, and help them in any way i can with my opinion, as well as they can help me. I don´t know much about musical theory, so my contribution with this forum could be telling you what someone who doesn't know al lot of theory thinks about your composition in a non very technical way. As i mentioned i´m not very good with theory, but i´m taking lessons and as i get better at it of course i´ll try to help some way. Well, to start, i´d like to know what you think about a composition i made about a month ago, it´s called "Esperando una señal" or "Waiting for a signal" in english, i´m mexican so this song is in spanish (i´m also trying to compose in english) so i don´t care that much about the lyrics (if someone speaks spanish i would really aprecciate some help though), it´s music, the melody what i really care about. It feels a little bit raw since it´s not very good quality because i only have a guitar, a mic, and a keyboard, also my room receives a lot of noise from other parts of the house, but i tried to make it sound as best as i could, i´m going to re-make it so it sounds better, but before i do, i´d like to know what you think about it. Thank you everyone for reading. Hope i´ll be here for a long time. Sorry for my english.

Hello, I'm new to this site. I only got into music about 3 years ago (I'm 19 now) and I need help because this is my first composition. So I understand most musical jargon, but I'm wanting to study Composition next year at a Music Conservatorium. Constructive feedback would be awesome! I know the piece isn't perfect which is why I need help!

Greetings YC Family! It's been a long time since I made a post and visited the forum. For those of you who may recognize me, you know that I was once an administrator on this site. My years on here have aided me in my ventures within the past decade. One of these ventures was the setup and creation of an online radio station devoted solely to promoting the works of new and emerging composers. This post, thus, serves two purposes: 1. To promote Et Lux Radio and encourage each and everyone of you to listen to the music of your peers as it is broadcast 24/7. and... 2. Make a formal call for live, or rendered, recordings of your works along with a signed affidavit giving Et Lux Radio permission to include the works within its broadcast. Submitted recordings need to be downloadable and in .mp3 format. They can be for any instrumentation and must be under 25 mins in length. Please include in your submission a brief biography and any related program notes for your works. Submissions can be emailed to jaowoodr@gmail.com! Thanks and I look forward to hearing your works!

This is an outline for the first of a 3 small movement concert band piece. There's really no info about it, I'm just in the mists of writing this and I want to get feedback and suggestions. Feel free to comment on this! Thank you

Hello, I would like to share with you a short piece I composed about the train stations in my country. The first measure right hand is the melody used in the station to alert people that a train is arriving, so that's why it's about a train station I would aprecciate very much your feedback, dont stick too much with the "train station" theme, it's just to give a title to the music!

Hello, I would like to share with you a short piano piece I did some time ago. In this work I tried to write with some classical construction with my own ideas, which makes it a not serious piece. I would apreciate some feedback Thank you!

I'm sure that most of you know that writing out music is very time consuming, whether you're spending 20 minutes on drawing your staff neatly for your notes to sit on, or constantly erasing notes on Finale because your mouse slipped by a centimeter and placed a Snare Drum buzz roll instead of a rim shot. Over the years of composing marching percussion music, I've developed another method of composing music that may prove useful to composers with limited time. Because this is so different in comparison to the notation that has always been used throughout the history of music, this probably won't gain any popularity at all among percussion composers. But I guess this is worth a shot, since it works for me, and might work for you. So let me begin presenting to you what I call the "Alphabet Notation" for rhythm or percussion. This is what one measure of rest looks like: / [ . . . . ] [ . . . . ] [ . . . . ] [ . . . . ] / / = measure bar [] = one count . = 16th subdivision of a measure A note's value is determined by the number of "." subdivisions that follow it (A 1/16th note having no following subdivisions, an 1/8th note having one following subdivision, and a 1/4 note having 3). Keep in mind that one count can fit four 16th notes in it. The classic "Eights" warm-up would look like this: TD (4/4) / [ 1 . 1 . ] [ 1 . 1 . ] [ 1 . 1 . ] [ 1 . 1 . ] / [ 2 . 2 . ] [ 2 . 2 . ] [ 2 . 2 . ] [ 2 . 2 . ] / And so on... BD (4/4) / [ 1 . 1 . ] [ 1 . 1 . ] [ 1 . 1 . ] [ 1 . 1 . ] / [ 2 . 2 . ] [ 2 . 2 . ] [ 2 . 2 . ] [ 2 . 2 . ] / And so on... SD (4/4) / [ R . R . ] [ R . R . ] [ R . R . ] [ R . R . ] / [ L . L . ] [ L . L . ] [ L . L . ] [ L . L . ] / And so on... For tenor and bassline, notes are represented by numbers corresponding to drum size. s = Spock Drum 1 S = Spock Drum 2 5 = Bass 5 X = rimshot x = stick click r = on the rim For snareline: R/L = right or left hand for each note Rr/Ll = flam notes Rz/Lz = buzzed notes X = rimshot x = stick click r = on the rim Tremolo is tricky, but hear me out. As most of you know, a tremolo line divides the notes value by two and fills the original value with notes of the new value. (A 1/4 note with a tremolo sounds like two eight notes; an 1/8th note with a tremolo sounds like two 16th notes.) In alphabet notation, consider this and maintain the count's value of four 16th subdivisions. When adding tremolo lines in this notation, you need to cancel out the subdivisions that the sound of the tremolo note goes over in that count. For example: (4/4) / [ R . L . ] [ R . L . ] [ R, L, ] [ R, L, ] // The first two counts are normal. But on counts three and four, you can see that I didn't include the second and fourth subdivisions on that count. That's because with the "," tremolo line, the eight note's value doubles into the next subdivision. Applying this concept may become increasingly difficult with drags on 16th notes, thus creating 32nd notes. To put it somewhat simple, you eliminate the "." subdivision that is played over with the preceding tremolo note. Two tremolo lines indicate a double stroke roll, which is basically 32nd notes filling the value of the original note. When placing two tremolo lines on a "[ R . . . ]" quarter note, you would write [ R,, ] since the entire count is played through, leaving no room for "." subdivisions. When placing two tremolo lines on "[ R . R .]" one of two 1/8th notes, you would write [R,, R . ] since the roll fills the 1/8th note value, leaving no room for the subdivision after the "R." Moving on, triplet figures indicated by underlining. For example, (4/4) / [ R L R L R L ] [ R . R L L ] [[ R Rl Rl ]] / [ R L R ] [ L R L ] [ R . . . ] [ R L L ] / [ R . . . ] [ . . . . ] [ . . . . ] [ . . . . ] // **Envision the bracket topped with a "3" that indicates a triplet figure in traditional notation.** The first count in the first measure presents a sextuplet figure, while the second count presents an regular 1/8th note followed by a triplet figure of 1/8th notes. For figures that last more than one count, you can combine the count brackets like I did in the first measure. It presents a triplet figure of quarter notes in the third and fourth counts. And in the second measure, the first, second and fourth counts present 1/8th note triplet figures, with a regular quarter note on the third count. Time signature in boldface preceding the first measure. Dynamics can be placed before the count in which it should be expressed in italics or cursive. Crescendos/Decrescendos between counts. For example: TD (4/4) / f [ 1 . 2 2 ] [ 3 . 4 . ] [ 3, 2, ] [ 1, S . ] / [ 1 1 1, ] > [ 2 2 2, ] > [ 3 3 3, ] > [ 4 4 4, ] > / p [ 4 . 4 4 ] [ . 4 4 . ] [ 4 . . . ] [ . . . . ] // >/< = crescendo or decrescendo And Accents indicated by bold faced notes. I'm sure most of you understand that one count consists of 4 16th subdivisions. That's basically what this notation is based on. There are no rests, you're pretty much looking at the subdivisions for each count and plugging in the notes from there. I believe this can make music translatable through keyboard without needing a special program. And when writing music by hand, this can safe the time-consuming preparations, like drawing the 5-line staff. And this is new, so of course, there's tons of room for evolution if Alphabet Notation turns out useful to anyone else.

Looking forward to listening to the wealth of music here. Toby

Hi! I don't normally speak to you composer types, I'm more of a rocker girl :3 hence my name (I heard there aren't a lot of girls who compose) I love led zeppelin and I have been inspired by the great guitar works of eddie van halen (would you call that a composition?) which has lead me to musical exploration and the desire to create my own great symphonies like mozart Behtoven and Bach. I have always loved that one song Moonlight Sonata by Behtoven but never really listened to any classical type stuff until recently my band nerd friend Tyler showed me the lovely calming peacful music of Mozart and it pequed my interests so I started listening to more Behtoven and Mozart and that german guy bach. (I love germans anyone here listen to rammstein?? ^_^) ANYWAYS I would like to explore this beautiful new peaceful world of music. I hope to one day compose my own dark symphonic metal pieces and I need your help. I can sing like tarja from Nightwish and I know how to play some piano but I can only read tabs. Where should i start? If someone would be willing to help me learn musical notes one on one (preferably someone who likes nightwish and emilie autumn) i will work my hardest to make sure they are appreciated and youd get into all my bands future concerts for free. ;P Anyways could you guys also please rec me some more classical music to listen to? Ive been listening to it every night before i go to sleep and its just so beautiful and calming and romantic.>.< any violinists here btw?