主辦：全球傑出華人藝術家協會（美國）
2022年開始 ，全球傑出華人藝術家協會啟動作曲比賽，鼓勵青少年創作新作品，並將得到國內外知名作曲家的的指導和幫助，激發青少年的創作潛力及才華。
報名截止日期：2022年6月1日
報名網站：gocaamusic。com
報名費：$120美元
初賽報名網站：https：//www。gocaamusic。com/copy-of-online-preliminaries-applica
評委團隊：
美國伯克利音樂學院/舊金山音樂學院/茱莉亞音樂學院/加州大學音樂系
作曲系教授
參賽要求：
兒童組：8-12歲 自創作品一首，體裁不限
少年組：13-18歲 自創作品一首 ，體裁不限
青年組：19-32歲，自創作品一首，體裁不限
1、創作作品可以器樂獨奏，器樂合奏，現代風格或古典風格，體裁主題風格不限
2、需要遞交創作作品樂譜一份，原創宣告一份，作品音訊
獎項設定：
原創現代作品大獎/原創古典作品大獎（由評委投票選出最高獎）
一等獎，二等獎，三等獎（按照作品水平評選，不受名額限制）
每一位選手將會獲得國際評委團隊的作品點評及獎狀
［附］ 2021作曲組選手作品，美國伯克利音樂學院教授點評
Liu Cheng Rui (Winter Comes)
#
It’s a very romantic composition。 I’d recommend you to use different pedals for each harmonies。 Especially every downbeat in terms of your composition。 That way your melody and harmonies would sound much clearer。 Right now， they’re blended with a lot of pedals。 Please consider to use quarter and half pedals as well。
Furthermore， please be careful with lower interval limits。 It happens mostly on the low end of your piano left hand voicings。 The reason why some chord voicings sound muddy and unfocussed often lies in the fact that they violate the so-called low interval limits。 These limits are guidelines for every interval structure and the lowest possible position they can be played together without sounding muddy。 They are NOT definitive rules but a good guide to avoid muddiness。 As usual， a word of how much importance to put into these limits。 They are as many such charts and rules in music just a guideline。 The amount of mud a voicing generates is highly depending on its dynamic and how many higher harmonics the sound contains。 So soft low voicings on for instance strings are more forgiving than loud ones on brass。 Also， there might be instances where you want a specific low rumbling sound where you deliberately want to ignore these rules for effect。
I would also recommend you to use Finale or Sibelius software to compose your music。 I really liked your handwriting but you can store your compositions on the cloud and it would be clear to read and play for others as well。 Also， you can save your compositions from fire， loss and water damages as well。
In addition to this， you can expand your composition a little bit more。 There is a great room for that。 I also realized that you wrote 16thnote arrpegios for the left hand but you played it quite differently。 I think， the ending could be notated more clearly。
Continue to work on your compositions。 You have a great potential。 Nice！
Best regards，
Utar ARTUN
YongShi He
#
1stcomposition with the score：
It’s a very melodic composition。 You used a bagatelle progression in the beginning。 And it seems you used a line cliché （it’s popular in film scoring technique） after the 10thmeasure。 In general， I liked the classical & pop sounding vibes。 My recommendation， you should extend your ideas little bit longer。 Right now， it sounds very short。 You can compose a build up with more variations and colorful ideas for each section。 It needs a climax。 Using octaves， arrpegios， different harmonies （re-harmonization） and dynamics/articulations would help with that approach。
It’s also important to analyze your own music as well。 This ties in with my previous point。 It’s important to be critical with your own work and judge it fairly。 Students often ask if their music is any good。 This is not that simple but we can get a better answer by asking a better question：
Think about the effectiveness of your composition。 Do you aim to compose a romantic music or film music？ If we know what the music is meant to do， we can judge its effectiveness。 And whether a piece is effective or not is a better question because it’s less subjective。 Let’s take the examples from the bullet points above：
If we wanted to write a nocturne （a piece that suggests the night）， is the music too loud？
If the piece is accompanying a short film， does it enhance or get in the way of the dialogue？
If the piece is based on some text， does the melody follow its rhythm properly？
If we’re composing variations on a theme， are there enough or too many variations？ Are they different or similar？
And so on and on， we should be critical of our own creations。 Before we move on to the next point， it’s important to keep in mind not to judge your works too early。 So go with the flow。
It’s usually better to put the analysis aside until later。 While there is a creative flow and you are composing fluently， don’t stop to analyze and judge。 Analysis is a very different activity than being creative and studies have shown that we use different parts of the brain for them。
That means that stopping to analyze your creation while it is being created completely disrupts the workflow。 It might take hours to get back into that state so leave your judgement for later。
Good job。 Keep working on your music and new compositions please。 Good luck！
Best regards，
Utar Artun
Zihan Cao
#
Very good start。 It seems you used baroque-like melodic and harmonic structures。 You had elements of counterpoint and vertical harmonies as well。 I’d recommend you to think about different harmonic and melodic approaches such as hyper chromatism。 For example， Do you compose different styles？ I’d love to see a little bit diversity and variety in general。
There are many different ways to change the style of a particular piece。 Understanding which chords go good together is nice， but it is not exactly need for what you call “playing in different styles”。
The second part of my recommendation is about how to change the rhythm。 You mostly used 16th/ 8thnote subdivisions as your rhythmic pulse。 Well， that is kind of exactly what you do - change the rhythm。 Using variety of triplets， 32ndnotes， poly rhythms or even whole notes would create a colorful rhythmic pallet for your compositions。 Also， if you want to change it up， you could use some octaves， inner melodies， extra counter lines （fuga like） and bass movements。
Some other things you could do： add ornaments （trills， mordents， etc。。。）， add fast arpeggios in the correct chord， change the chords （only if you know what you‘re doing and comfortable with）
Great start here！ Good luck！
Best Regards，
Utar Artun
┃
諮詢方式
END