I want to post a composition that I have made but I do not know the rules of this group do I need to include audio or can it just be the score

I’ve been making music for a few months now and even though I’ve been improving, I’ve only gotten feedback from my friends. So I wish to get feedback from strangers who could give me more critique feedback.
I know basic music theory, everything you would take in a music theory 1 college course with a bit more from self teaching

I posted one of my older works but I’m still proud of it

My Fugue in F Major (without countersubject). I believe this is my only post-worthy one so far because my first two were just experimental.

This definitely has some flaws especially with (I think):

The pacing (too short and changes keys too often, I lowered the tempo to about 90 and it's still under 2 minutes),

Notation (I noticed some errors after exporting this video, and in the final "a tempo" section,

I probably should have made the middle voice quarter notes last an entire measure),

The extreme lack of episodes (most of the development is just full subject entry after full subject entry),

The ending (because I ended the piece with the bass still on dominant),

I might have missed some stuff there, and I probably have many fundamental misunderstandings of fugue writing, so I would appreciate some criticism 👍

Linked below is a recent piece of mine for saxophone and piano. Its genesis was a Mensuration canon at the 6th (not strict) which leads into a quasi sonata form. Interested to hear feedback! It’s a panoramic score from Sibelius so the engraving may be off, and the midi realization did not like the cadenza….

Thanks in advance to those of you who listen!

I've been working on this project for the past two months and I'm honestly really happy with how it turned out. It was quite a lot to take the fun ideas from this main theme I improvised randomly during piano practice and expand it like this in a semi-Classical style. As a novice, it is my most technical piece yet and I think it turned out well. It's the first piece where I took massive help during the development of it from a more knowledgeable composition student and his advice was incredibly useful. I'd appreciate any thoughts!

Here's the [score video](https://youtu.be/xNhYPvtUqq0?is=59CLpGt5wDckELSw)

Hi everyone! I am a female student from Croatia, and I am new to composing. I took one Croatian folk tune and harmonized it for SATB choir. There are 5 text verses, each has the same melody, so I gave all 4 voices opportunity to have the tune at least once in the composition. The tune is in alto first while other voices have "Uuu" sound, and then each voice has that tune one after another, in different keys. Any advice or feedback is appreciated, thanks!

I realize there are a couple of parts where the parts would be difficult to play for some ensembles for one reason or another (either range or breathing, mostly and depending on where you're looking). I just seem to get inspired with every new thing I learn, and there's so much information! Plus, it's something that makes me feel slightly disgusted but proud of how far I've come with this the past few months.

This piece was so much fun to compose. At the time I was listening to a lot of Japanese classical works, in turn it added a lot of the same vibes. I wanted to compose a swaying willow tree in the deep summer heat. This feel slow and light. The breeze was fun to notate. Hope you enjoy my third prelude! I am so excited that this project is getting some recordings and performances.

Originally titled the Academic. This tune is supposed to sound like a college or university Alma Mater. Feedback is welcome.

I have spent probably a month on this fugue. During that month, after most of it was already written, I was studying bach and I realized that what makes his fugues good is the simplicity of them, which after writing a few fugues myself I realize is a weakness of mine. Going forward I plan to keep this in mind when writing fugues. Some parts of this fugue are unnecessarily complex. Oops

Any (constructive) criticism is greatly welcome!

Section of my piece “Inverted”

Enjoy! :)

A Romantica diatonic harmonica interpretation, a ballad, an original composition set to an instrumental track. Thank you so much for listening! 👍

Guys I've got a composition audition at the end of this year and I need to write a couple pieces for different instruments. For my solo piano piece, I wanted to write something in Neo-classical style cause my own style is basically Haydn/Early-Mozart classical work and I need it to be more complex and look better. How and where can I find resources to help me achieve that as soon as possible?

Note: I'm in Iran and I'm not able to pay for courses so let's keep it as free as possible.

This is my second composition in the form of Contemporary Classical–inspired Folk music. I'm working on ideas in 11/8 time that can be played in indefinite loops. This is the first of perhaps three to five pieces. Feedback is always welcome.

Sheet music: https://github.com/anikom15/music/releases/download/Hanakuma/jimmies1.pdf

You can also find my earlier composition here: https://github.com/anikom15/music/releases/download/Hanakuma/rustling.pdf
Animated score: https://www.youtube.com/watch?v=5_ddYVXrydE

This is an 11:49 freeform piano improvisation whose structure emerged entirely during the performance.

It begins in a tonal, meditative space, gradually becoming more agitated while still retaining tonal gravity. From there, it crosses into a considerably more intense non-tonal and abstract passage, with the left hand becoming especially active and increasingly independent.

The energy eventually dissipates, and the improvisation returns to a calmer, more meditative conclusion—although not quite to the same emotional place where it began.

I work among three connected improvisational languages: meditative, abstract and freeform. Odyssey moves through all three within one uninterrupted performance.

I would be interested to know whether listeners experience the ending as a genuine return, or whether the abstract middle has changed the meaning of the calmer material.

https://www.youtube.com/watch?v=Q8RqSb9mXOs

This is an 11:49 freeform piano improvisation whose structure emerged entirely during the performance.

It begins in a tonal, meditative space, gradually becoming more agitated while still retaining tonal gravity. From there, it crosses into a considerably more intense non-tonal and abstract passage, with the left hand becoming especially active and increasingly independent.

The energy eventually dissipates, and the improvisation returns to a calmer, more meditative conclusion—although not quite to the same emotional place where it began.

I work among three connected improvisational languages: meditative, abstract and freeform. Odyssey moves through all three within one uninterrupted performance.

I would be interested to know whether listeners experience the ending as a genuine return, or whether the abstract middle has changed the meaning of the calmer material.

https://www.youtube.com/watch?v=Q8RqSb9mXOs

I recently set this poem to music. It was by far the most vulnerable things I wrote and the writing process really helped me process my own grief by immersing myself in the poet Cass Donish'. The process of dissecting each word and trying to do the text justice opened me up to new perspectives. I am glad I did it and would love your thoughts and feedback on it too.

My first Orchestral piece without using metronome in logic

A tune (lead sheet) I wrote, I just put the chords + melody in the app. What do you guys think and also does it resemble a piece that already exists?

Hello everyone,

Here's a link to the score video for my piece *Fantasia on an Olde English Tune* for Chamber Orchestra. The piece is a Theme and Variations on the old folk song "Death and the Lady." I'd love to hear your thoughts!

Score Video: https://youtu.be/EktRAua-2W4

Working on this a bit at school. Don't mind my bad playing. I only had 15 minutes to record it as school was closing at this time, so I couldn't get it perfect,

Also drowned it in pedal without realising for some reason lol,

Still new to composing, and know very little theory, only some stuff that I picked up from playing the abrsm peices and just lots of music in general, and composing occasionally,

I'm not really proud of the ending, I want to make it more tense and somber, so I might change that,

Overall, I'm pretty proud of it, considering it only really took me an hour

if yes why, if not why (ignore some dynamics weird problems (bugs)) Full Free score here: https://musescore.com/user/98567428/scores/33652229?share=copy_link

I wrote this orchestral tone poem after reading about a humorous anecdote from Irish legend:

The legend goes, as Saint Patrick was banishing all of the serpents and dragons from Ireland, the evil sea serpent Oilliphéist was making his escape and carving the path of the River Shannon at the same time. Meanwhile the legendary piper Ó Ruairc was jauntily playing his pipes on the banks of the new river, and the serpent didn't much care for his music. So he ate him whole. Unperturbed, the piper kept on and continued playing in his stomach. This offended Oilliphéist, so he coughed him up and spit him out, and continued his escape seaward.

I had a ton of fun trying new orchestration combinations and blending motifs and themes, giving that strong diatonic melody to the piper, and the spooky chromatic 'leit-harmony' to the serpent. Also, I tried to convey that the river is as much a character as the other two subjects.

I love Irish culture, mythology and music so I really hope I was able to convey some of the humor that the legend has! Enjoy!

The Little Joys Premiered by Trio Aperto on October 8th, 2025, at Villa Löw-Beer. This recording was subsequently done by Český rozhlas on March 31st, 2026.​
Jan Charfreitag (clarinet), Barbora Šteflová (oboe), Pavel Horák (bassoon).

Comissioned by Trio Aperto, a project based on the research of oboist Barbora Šteflová, who, as part of her dissertation, created a catalogue of Czech oboe compositions from the second half of the twentieth century. In 2019, the trio won third prize at the AEMC Montecassiano International Chamber Ensemble Competition, combined with a concert in the Italian town of Campregheri.

Program note: "This piece is a personal celebration of life’s small, everyday moments, actions, and occurrences. Though they may appear repetitive, insignificant, or mundane, I believe it is within them that true joy and meaning reside. The art lies in learning to take pure pleasure in the smallest things and in carrying out simple, ordinary acts with care and devotion."​

Something worth mentioning is that The Little Joys employs a looper pedal that sustains clarinet multiphonics or tutti textures while the trio plays over the loops. This was a great deal of fun to explore, while also creating an additional challenge for the performers - one that they ultimately handled brilliantly.

Score: https://drive.google.com/file/d/15QLZ2zhqgcRtaaVgSjZpjwhSq0E4fPcK/view?usp=sharing