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Jon war DJ bei der Hochzeit von Phils Bruder

Das Paar genoss einen ersten Tanz bei Etta James 'At Last und ein DJ-Set von Jon Saunders. "Jon war DJ bei der Hochzeit von Phils Bruder, also wussten wir, dass wir ihm vertrauen konnten, dass er die Gäste unterhält und eine Party-Atmosphäre schafft. Ehrlich gesagt, ich denke 
hochzeitskleid umstandsmode
, dieser Hochzeitsempfang war eine der besten Atmosphären, die ich je hatte. "

"Viel Spaß beim Planen! Wir haben geheime Tische auf Pinterest verwendet, um unsere Ideen zusammenzufassen. Und wenn Sie ein Budget haben, schätzen Sie, was Sie ausgeben möchten, BEVOR Sie die Forschung verlieren. " 

Ich liebe diese Hochzeit, sie ist so kreativ und voller Persönlichkeit. Siehst du etwas Ähnliches für den nächsten Frühling und haben wir andere Frauen von Naomi Neoh unter uns?" 



Here's a place to introduce yourself! just say a few basic things about yourself, your name (or username), how long you've been singing, any instruments you play, and just some facts about yourself!

I'm Phia, I'm been singing for about 11 years, I'm a Mezzo Soprano. I play Piano and a bit of guitar. I love reading, acting, and cake (Cause who doesn't like cake?)....

What makes a piece a bagatelle?

Now I know length is part of the answer. Nobody wouldn't consider a 10 minute long rondo to be a bagatelle. Bagatelles tend to be around 3-5 minutes in length. Also, from my experience(though this is biased towards Fur Elise and Bagatelle in C minor(the one at a presto tempo) because those are the 2 bagatelles that I am most familiar with), they seem to follow one of 2 forms most often. Those being:

Rondo form, usually ABACA instead of the more complicated rondos you see at the ends of sonatas such as ABACABA. This is how come, despite the short length, Rondo Alla Turka does not count as a bagatelle, its rondo form is more complicated than a simple ABACA and is much closer to Sonata form in its nature(that and it is the end of a Mozart sonata, just more often played by itself than with the whole sonata)


Ternary form, sometimes itself split into Ternary form subsections, especially in the A section.

An example of a Bagatelle in Rondo form:
The most famous bagatelle in existence

An example of a Bagatelle in Ternary form:

This one has an A section that itself is in ternary form. In that sense, it is closer to a rondo, but I'm still counting it as ternary form because of the Scherzo and Trio structure of the bagatelle as a whole.

Another thing that I notice, at least in minor key bagatelles, is that there will often be 3 sections differing by key and intensity. One of the sections will be intense and in the minor tonic. Another section that is also in the minor tonic will have a more relaxed feel to it. And then there is a section in a contrasting major key, usually either the submediant, relative major, subdominant, or dominant, but sometimes the parallel major is used instead(as in the case of the C minor bagatelle).

But obviously form and length aren't the whole story, otherwise a lot of short, simple rondos would be called bagatelles. And granted there are a lot of bagatelles out there(especially Beethoven bagatelles), but the majority of short rondos aren't bagatelles, just rondos. 

So besides the piece being in either Rondo or Ternary form, being short, having 2 sections in the same key and another section in a contrasting key, and having the 2 sections that share a key differ in intensity, what makes it a bagatelle? Does it have to do with being in triple meter as opposed to 4/4 or 2/4? No, because some bagatelles are in 6/8 and that isn't triple meter(well, I guess it can be either duple or triple depending on context but usually 6/8 is duple meter with a triplet feel, not triple meter with a straight eighths feel).

So, I have found a lot of similarities amongst bagatelles in their form, key, and length, time signature types differ, but I don't seem to have found what makes a piece a bagatelle. So what is it that makes a piece a bagatelle?

Message Regarding a New Composition of Mine

Hey! I would love if you guys and gals checked out my experimentation with chord progressions and nationalism. Here's a sample for y'all.

Hey! I have a YouTube Channel! You can check it out here:
Since I can only upload five songs at a time, I post my music there so it's safe when I delete it here. 

Rubato in separate voices

I'm writing a piano concerto, and I would like for the arpeggio in the right hand to be independent rhythmically to the eighth notes in the left hand. Currently, the arpeggio is written as a 9-tuplet with fermatas over each note. The result is a swung bass which really does not fit the style of the piece.


As a matter of notation, I made the arpeggio note heads small to indicate a lack of rhythm, but the note heads in the left hand standard to indicate that they are to be played at tempo. Is there any way currently, or could there possibly be any way in the future, that this effect could be achieved in playback? The fermata trick is already a huge step forward from when one would have to change the tempo for each note; I think there could even be a better way to implement rubato. 

Collaborative Symphony

Does anyone want to write a collaborative symphony where we write separate movements but fit within an idea and a theme? FILLED, BUT NEEDS SUGGESTIONS
Here is how we are going to do it, we will come up with a theme or an opening melody, which will we will have our movements based on. Once completed we will compose our movements, and when we're done, I will put them together and all people who participated will uploaded it with credits given.

I've been copyright striked

I received an email sent at 8:15am about one of my scores "When You Wish Upon A Star" being taken down for copyright infringement.

To be specific, it is my arrangement of the song for piano from the Disney movie Pinocchio. The licensing under this score is "Attribution" due to the fact that it's my arrangement of the song and I do not want anyone to claim the specific arrangement as their own, not the original song itself. The reason I am bringing up the licensing is because I'm not clear on whether the copyright strike is because of
1) my score is based off a popular song
2) the incorrect licensing
3) or a software glitch (as mentioned by Mike in another discussion post on this forum)
If it's possible, I can always change it to public domain. This is my first time receiving this notice, so I am unaware of what exactly happened. I'm hoping this can be settled and one of the staff members can take away this strike and make my score public again.

Also if anyone can educate me about whether I did the right thing about licensing my score as "Attribution" I'd greatly appreciate it.

Do you think this is a good movement structure for my Suite?

I have been working on this Weather Music suite for a while now and I think I have decided on a good movement structure. Here is the overview of the movements.

First movement

Here I'm aiming for a warm feeling, like a sunny day kind of warmth. So far,  I have decided on string quartet + piano for the instrumentation.


Warmth of the sound(which I think primarily comes from my choice of having a string quartet in this movement)
Harmony is in ternary form
Melody is improvised and doesn't follow a specific form
Moderate tempo(which adds to the warmth of the sound)
Ends with a Plagal cadence(I'm aiming for a bit of finality but not total finality, thus the Plagal cadence)


G major

Second movement

I'm thinking of having this movement represent windy weather. As such, a  flute piano duet makes sense for this movement. And it will probably have these characteristics:


Allegro tempo
Minor key?
Melody that sounds a bit chaotic on its own
Harmonic grounding to the melodic chaos


D minor?

Third movement

This movement, I am thinking of having represent cloudy weather. It makes sense if the second movement is to represent windy weather. As for instrumentation, I have no idea. I'm thinking of having these characteristics to it:


Andante or Adagio tempo, not sure yet
Perhaps end on a diminished 7th to lead smoothly into the Storm movement?
More reserved dynamically speaking(forte becomes a rare dynamic in this movement)


G minor?

Fourth movement

This is the movement I started working on first and I plan for this to be the most intense movement of the suite. That's right, this is the Storm movement of my suite. I decided on piano solo for this movement. I figured that since the pianist has rarely gone solo so far in the suite, that it should have its own movement to shine. As a result of this, here are the characteristics that I decided on:


Scalar passages with leaps
Fast octaves
Forte becomes more of a default than an exception
Presto tempo
More diminished 7th chords
Quite a bit of staccato

Overall, this will be the most Beethovenian of all the movements.


C minor

Here, I would have a calmer sounding interlude after the storm, not really it's own movement

Fifth movement

This I'm thinking of having represent snow. Maybe not the most logical but it will still bring some happiness after the Storm movement. This is where I'm thinking of having flute + string quartet in terms of instrumentation. The pianist is probably going to need a break after the Storm movement


Lots of staccato
Overall higher sound(this is why I thought of adding the flute here)
Allegro? Andante? Moderato?


Bb major

Sixth movement

I'm not sure what instrumentation to use here but it would be more mellow than the Storm movement for obvious reasons. Here are the characteristics it would have since it is a representation of rain:


Slower tempo
Minor key
Very few diminished harmonies
More sad than intense


E minor most likely

Seventh movement

This I plan on having feel very happy after the more emotional movements, like a rainbow. I also plan on having all the instruments that have had a role in the suite play in this final movement.


Most likely the longest movement
Might be in sonata form
Ends with a perfect cadence to give a sense of total finality


G major

What do you think of my movement structure? Any adjustments that you would make to the movement structure?

CCC#2 - "The Wanderer"

 CCC#2 is here!

Based on the results of the survey I sent out on Friday 7th June, it occurred to me that several of the themes which I suggested, and asked you to vote on, would in fact fit quite nicely together. Therefore, for this second competition, I have found another painting by Caspar David Friedrich, since the response for “The Watzmann” was very good. I am also going to give a genre of music (as wide as possible, but still something to go on) and a short story available in the file below.

If you would like to help judge the competition, or have any other queries, please message on Musescore, or via discord @jte#9811

Details of the competition:

- The deadline will be in 4 weeks time (Saturday 29th June)

- The genre, as chosen by the survey will be “Film Music”. This is deliberately a very wide genre in order to give the contestants freedom of creativity. There will be an award for the most original take on the task, as with the first competition. 
Obviously this theme can be interpreted to fit your desires.

- The painting (shown below) and the story are both in the google docs file. If you have any issues accessing this file, please don’t hesitate to contact me. I will be happy to help.


- Your work must be completely original/all your own work.

- Be nice when critiquing other people’s work. Constructive criticism is fine, but don’t be rude. If you do, you will be disqualified from the competition and banned from the group.

- All pieces and comments must be appropriate.

Please let me know if you’re planning on taking part. I’d like to have an idea of who might be competing.  

- Joe