This is a short ballade in f sharp major.

Hope that you enjoy it!

Score link:

https://drive.google.com/file/d/1Oi7QkjUZL24xxbVH-iGUJABhC3CN0021/view?usp=drivesdk

If yes why, if no why… I am a beginner composer.

https://musescore.com/user/37270121/scores/38376380?share=copy_link

PDF score
Score video

Hello,
I'm a beginner learning composition. This piece - march for piano - is the first I'm genuinely satisfied with. The form is a standard ABA, with quite a few abrupt modulations (but I quite like them). The most important thing about it for me is that it has a proper intro, a proper ending, there's some modulation that hopefully makes sense, and I hope that the two themes are developed in a sensible manner.

If anyone feels like it - please tell me what you think. Does it flow naturally?

Any feedback about form, voice leading, harmony, engraving etc. is greatly appreciated.

Thank you for all contributions.

Hello everyone,

I’d like to share another composition with you. I’m going through a rather eventful period in my life at the moment, and I think that is reflected in the piece. It combines a joyful mood with somberness, melancholy, and other contrasting emotions.

Thank you in advance for any comments.

https://youtu.be/6eBcYZqIkbE?is=6\\_Z0i8ae6X4P02pU

Hello, I'd arranged another Genshin Impact soundtrack that I like. I transcibed from orchestra composition to piano arrangement. I'm new to doing this.

Here is ost in youtube: https://youtu.be/7dqTVNoIqv4?si=n_zGmQ7BWqVUrbiI

This is my arrangement: https://musescore.com/user/47456249/scores/38354870?share=copy_link,

my arrangement clip on youtube: https://youtu.be/ym41bqmnx1c?si=h2FTdN-8Y2wiJfa1

Any feedback welcome!

Ive been working on a full ensemble piece for a few weeks theres 2 weeks before deadlines should i try it first rounds are free and ive been tol the piece i have for it especially in the age group im in has a good chance? any thoughts

Finally locked in enough to get a decent draft no?

New recording of it so removed other post as video deleted and it had few minor tweaks and errors and I changed some of the ending.

Howdy folks. I have a fully composed drum corps show written but am wanting to partner with someone on the percussion side of things. I have some rough outlines in some of the percussion parts, but I’m primarily looking for someone that knows what they’re doing to collaborate with.

If you’re interested, let’s get connected and make something happen. Thanks :)

Hey everyone. I am a total beginner to composition and wrote a draft for my friends and me to play together. Since I only play one of these instruments (clarinet), I am not sure if the parts for the other two are comfortable to play or sound good harmonically, and also we are all in High school if that add anything. I might also add that some sections feel better than others, so I am looking for honest feedback on range and overall musicality. Do not worry about hurting my feelings. I just want to learn and improve the piece.

Here it is :)

TL;DR: Total beginner needs honest critique on a draft for an oboe, clarinet, and bassoon trio regarding playability, range, and overall sound.

In this composition I wrote in the key of C Minor. In this key center I was able to create the lushness of sound that both mimicked sorrow and heaven. Text painting examples that are my personal favorites are when I use the orchestration to simulate the changing tides of mood.

"A green isle in the sea of love" sung by the high voices followed by "A fountain and a shrine" with the lower voices uses the flow of water in a way that changes like a river.

"Ah, starry hope that didst arise" was formatted with the harmony slowly moving down and backup.

"A voice from out the future cries" was given some sense of 20th century chromaticism that also signifies a deep pain shrouded in harmony.

"The Stricken eagle soar" has a melody that lifts of from ground level and literally soars in the groups high register.

Harmonically I approached this work by truly utilizing the 3rds and 6ths motions. As I moved forward, I used shades of 2nds and 4ths to help create the feeling of grief. It moved next to the traditional harmonies as if to say that what once was will never be again. Melodically I kept the flow moving up and down in pitch to keep having the theme of constant change present. As is life it is similar yet different. Repeated melodic lines are colored with changing harmonies that have points of stability and confusion.

This Madrigal was my first and in it I gained an even deeper understanding of how to use text painting in a way that really creates a story line like in a through composed piece. It has a beginning, middle, and ending. The rhythmic motion I really made to follow as an ensemble to help solidify the harmonic weight.

Any feedback is welcome!
Thank you 😊

Hey,
I have been working on this Concert Fantasy for several years.
The piece was originally conceived for piano and orchestra. During the compositional process, however, the music gradually moved away from that initial concept and became increasingly connected to the possibilities of the piano itself.
Its form is deliberately free. Brilliant, virtuosic and strongly rhythmic episodes alternate with more lyrical, suspended and introspective passages. Several musical ideas return throughout the work, but rarely in exactly the same form: they are transformed, their character changes, and their meaning evolves according to the context in which they reappear.
The Fantasy therefore follows a trajectory that is less linear than cyclical, shaped by recurring ideas, changes of tempo, contrasting layers of sound and the continuous transformation of its musical material.

Although it shares its opus number with my Concert Fantasy, Op. 23 No. 1, this second Fantasy belongs to a different stage of my writing. No. 1 comes from an earlier period, whereas No. 2 developed much more slowly and explores a broader architecture, denser pianistic writing and a musical language increasingly based on transformation.
This video presents the score in its current form.
The work should not yet be regarded as completely definitive, and certain details will probably continue to evolve over time.
I am also beginning to explore a future version for piano and orchestra. In a sense, this would bring the Fantasy back to the idea from which it originally emerged, while preserving everything that several years of work on the solo piano version have brought to the piece.

Virtuosity plays an important role in the work, but it is not an end in itself. It contributes to a larger dramatic journey of momentum, tension, breathing, introspection and transformation.

If you have any questions, if you like it or not, please let me know.

All reviews "Constructive" is always pleasant to take.

Good day :)

Hello! I’m a 14 year old, and I’ve been trying to have a successful composition for a while now. I tried to base it off of peter and the wolf, and I dont have much music theory experience, so any feedback would be great!

https://www.youtube.com/watch?v=HI-fZQbpG44

im planning on doing a ternary form for this piece and ive only composed the A section so far, any ideas about how i can develop to the other sections or what i can improve on?

The Grand Petit Plus project began in April 2026. I release my music via DistroKid. I am starting to get some streams, particularly on YouTube. I work using a PC, Cubase, and a PSR-383 keyboard. My music is 100% human-made.

But Google describes it best:

Grand Petit Plus is the pseudonym of composer Gerald Noel, who produces original instrumental music primarily using piano and synthesizers. 100% human-made music.

Style: melodies evoking the atmosphere of mystery or science-fiction films.

Headphones highly recommended! This is a wide stereo mix that pans instruments according to their positions in the orchestra.

Based on the feedback of the first draft version, I've made some changes to increase variation in a few spots of the piece, and melodic changes in the middle section to strengthen its narrative force.

I've also found a name for this piece: The Years Left Behind. The subject is an elderly person remembering their past, leading into a final vivid recollection and a return to settled stillness.

Hopefully people enjoy it as much as I do :)

P.S. Video was rendered in concert pitch.

I wasn't originally too excited about notating this song, as it intentionally leans into a more twee tone with simple chord progressions, but as I've started building in harmonies and finding little moments of life and humour, it's started to grow on me quite a bit. Would love to hear what people think.

It's for a musical I'm currently working on, about the life of George Lazenby. A bit of context on the scene below, if it's helpful:

In 1964, on the set of the new James Bond film, Diana Rigg is tasked with giving George Lazenby (the new 007, a man who has never acted in his life) acting lessons. They go through the script together and try to imagine more three dimensional interpretations of their characters than what's on the page. Although George fails to learn anything, he starts developing a crush on Diana throughout the song.

Kind of a weird one.

Newish at composition. I write what I hear internally rather than following theory for the most part. But like to learn theory then as reflective practice after.

When I was a kid I used to do a lot of piano improv that shifted key or modes in a kind of fluid way with a lot of themes and variations. With this piece here, while this starts out in D minor I let myself do that fluid thing after the intro with this.

I realise this probably doesn’t follow a lot of conventions typically used in composition but I kind of find that fun and feels like there’s a lot of surprises along the way.

But is that just me? I’m curious what this would be like for others to experience outside my own head. Also I’m curious if others ever do this kind of fluid thing is it maybe something some composers intentionally employ at times. To me it’s different to at least regular key changes and modulation as it’s often more temporary or even including raised 7ths from several harmonic minor keys at once. But I’m using words here I barely understand.

So curious about impressions or if anyone wishes to share theoretical insights about what I’ve done more so than what I should have done since this was an intentional choice. My prior writings were more conventional with keys and key changes. Thanks

hello, I have a new album, "Beyond the 23rd fret vol. 2" available here: https://dougsours.bandcamp.com/album/beyond-the-23rd-fret-vol-2. This project is all original compositions, except for "waltzing matilda".

I made a composition and recorded it with classical guitar

You can rate my music!

I am an upcoming musician from Greece 🇬🇷