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i've been meaning to ask this for a while, but what is patrick doing in the group icon?

If you listen to this score it will be stuck in your head for the rest of the week 
 
https://musescore.com/user/32767089/scores/5720115

and probably fill you w/ memories from your childhood 

I am arranging Beethoven's Moonlight Sonata for a string quartet. I might add a double bass if I think it is necessary, but so far, no issues with it being a quartet, at least not in the first and second movements. Now I'm arranging the Presto Agitato and as if it wasn't hard enough with the need to smoothly transition from the viola to the violin in those sixteenths, if I keep the interval relationship, the notes are going to be too high. I could get away with this octave displacement in the previous 2 movements(With the first movement, I basically did this octave displacement for the entire bass line to fit it into the cello), but now, the octaves the sixteenths are in are crucial to getting the right sound out of the Presto Agitato.

There are 2 things I can think of as to how to get the Presto Agitato to sound right, one of which keeps the instrumentation, and another of which keeps the original octaves.

Option 1: Add Double Bass

This would keep the original octaves, and I could have it play the bass line and have the sixteenths start in the cello and rise upwards to the viola and second violin.

Option 2: Move bass line to Viola for first measure of each arpeggio run

This would keep the instrumentation I have going of a string quartet and for everything except the bass line, the original octaves would be kept as well.

Which one of these 2 options do you think would be better? Any other suggestions?

NOTE: I'm only asking about the arpeggio runs, the scales and Alberti bass are easier to arrange.

I'd like to play it with my sister, we are both Grade 8 ABRSM. I've trained making it myself but it's not good at all :(

I know I do.

 I don't know if I improved at all since my last attempt, but I enjoyed writing it! Would appreciate some feedback in case I decide to write another string quartet piece.   

https://musescore.com/user/3310546/scores/5769725

If you haven't seen it yet, here is the link to my flute sonata:

https://musescore.com/user/50070/scores/5703661

I nicknamed it The Haydn Sonata because I am trying to get across a Haydnesque feel to it. I have noticed these things predominant in each composer of the Classical Period Trifecta:

• Haydn: Humor, melodic and harmonic surprises
  
• Mozart: Alberti bass, effortless grace
  
• Beethoven: Sheer power, even when the melody is more lyrical
  

Haydn is the one who inspired me to write this flute sonata. I wrote the sonata exposition in just an hour and this is the first sonata for a duet that actually has a finished exposition.

There are quite a few surprises in my sonata exposition. Here they are:

Bar 5: Sudden entry of the flute and absence of the piano 
Bar 6: Sudden reentry of the piano 
Bar 10: Short diminuendo, like the theme isn't quite done yet 
Bar 11: Short staccato variant of the theme over a syncopated bass 
Bar 14: Sudden forte cadence, theme is now finished 
Bar 15: Piano dynamic in transition material right after a cadence at forte, sudden absence of the flute 
Bar 21: Forte dynamic when transition material is taken up an octave, flute comes back 
Bar 26: Piano dynamic yet again, descending trill motive 
Bar 41: Very busy texture as the repeat comes closer 
Bar 47: Sudden change in texture, sudden dynamic change as it repeats

I'm wondering, is my sonata exposition Haydnesque in its nature? I tried to get a Haydnesque feel to it by being more humorous than serious with the music. Anything impossible for the flutist? Does it feel like a Molto Allegro to you(tempo is at quarter note = 140 BPM)? Or should I just take the Molto off and just have Allegro as my tempo marking? 

I have a chair test two weeks from now (I'm forth chair btw)  and I am wondering of there is any tips or tricks I need to now before taking the test.

-Edit: There is only one week left before the test.

-Thx

Mine is my rondo for a sonata collab

can i please join i play saxophone

So I have been playing alto for almost two years and I started on the bari sax and I'm pretty good. But all my band music was thrown out for my alto sax(didn't play bari in my band) and I'm looking for songs to play and learn. I want to get better at Bari for the upcoming school year since thats why I'm playing the bari over the summer. Thanks! Hard, easy and in between songs are just fine :)

So I usually am not in the presence of staff paper, and I absolutely love graph paper for many things, so I created my own system of notation for when I have graph paper but no staff paper. It’s rudimentary and inefficient, but it makes practical sense. It’s not really meant to play off of, it’s more meant to keep track of rhythms and pitches for future use. Currently I’m using this system to transcribe and transport the sax solo from Youngblood Brass Band’s “Brooklyn” into Flat.io without changing tabs or removing instruments. I’m mildly proud of this system; I’ve used it in the past, up to a year ago, but I’ve refined it.

I notated a piece that I'm quite proud of recently, if anybody ever played the video game "The Blockheads" then you've heard it. give it a listen! https://musescore.com/user/27939993/scores/5733521

Hi I am new to composing - anyone got any advice on how to start?

thanks,
pianonions

I'm a piano player arranging for strings!I have a question: If I have the 1st Violins play div., and i want both voices to play legato and staccato, do I need to put staccato dots/legato lines over both voices or only one?

Hey everyone, iv'e been playing the cello for two years and I still dont know hot to shift due to my teacher refusing to teach me. What do I do!?

Edit: Thank you guys for all your help! Because of all of you guys im able to shift down to 6th position now! I'm incredibly grateful for this group and the people in it. Thank you!