BEFORE POSTING:

Sometimes I will like the sound of an instrument but want to use electronic effects to push it further than it can go, octave wise.

For example I might want a soprano guitar sound but most guitar players only have standard guitars in the more tenor range. So I could use effects to raise the octaves higher.

Or with the tubular bells since the octave range is very limited I can push the octaves lower and higher to get more pitches.

Or if I want bass bagpipes but people only have tenor or alto ones, I can lower the pitch to bass, etc.

But I can't think of composers or musicians that do this and they always seem to keep instruments in their natural octave ranges. Is there a good reason for that though, instead of giving yourself more options?

Thank you for any input on this. I really appreciate it!

I am, for the most part, a self-taught singer/songwriter who has no formal music education. I want to learn how to compose instrumental melodies, and have no idea where to start. I can sort of play through chord arpeggios and can harmonize, but I have no basis for melodic writing. It completely mystifies me.

Can anyone recommend good books for this skillset?

Score: https://drive.google.com/file/d/14UCkDqlihc1rBEpdsXgXZx4ggYihBsNY/view?usp=sharing

Video/Audio: https://youtu.be/mY6_4xxHgfE

Just wanted to share this fun piece I got to work on in the Fall in collaboration with a production of Sarah Ruhl's play Eurydice. Not only did I get to write with a director for the first time, but I also got to teach a small group of student performers how to perform the simple quartertones the piece calls for (not to mention learning to play the lyre as well lol)

I'd love to hear what y'all think!

Hello all, I’m looking for a library that has a longer glissando and portamento. It seems the more common libraries like Spitfire and Cinematic Studio has short baked in ones? Thanks!

https://youtu.be/FNJIxamgshY?si=HYnebLoMuvJ5Tk0C

Where do I find music composition/production gigs? For YouTube videos, or video games, etc.

I’ve been taking piano lessons going on 5 months now after being a guitarist for 15 year’s, and my instructor has been giving me pieces to learn and in turn he has me write my take on them after realizing my interest in composing. So I’ve done Gnossienne No’s 1-4, Bach inventions 8 and 14. And currently working on Chopin’s Raindrop prelude. I don’t mind sharing those if anyone’s interested. Anyways here it is, hope everyone likes it https://drive.google.com/drive/folders/1s48DF5rDVJbPM_86LAED1vu78MABFGC0

Hey everyone! I recently did a deep dive on how music was used during ww2. I researched the history of how Germany became the "People of Music". A lot of musicologists in Germany worked with the Nazis' and tied this idea into their claimed proof of the Aryan race. Which they used to justify the holocaust. They used music as a means of torture in many ways to control everyone they occupied. The Allies also weaponized music with intelligence agencies in different ways as a form of anti propaganda that was very effective against the Third Reich.

I just made a video showing how it all played out. Feel free to check it out and share any thoughts and feedback

https://www.youtube.com/watch?v=qrGrKGSvZ-I

I’ve always had a bit of a problem with completing pieces. If I’m working on something I tend to obsess over it at the cost of not being able to focus on anything else in the meantime. This means months on a relatively short piece until I can get it out of my system.

Now on the one hand I have the luxury of that time, composing is not my main source of income, so I’m able to be the perfectionist for my own passion projects. But on the flip-side, I’ve been feeling like it’s holding me back a bit, making me feel like these pieces are not ever worth completing even after months working on them, and wishing I could focus on two tasks at once.

So, in an effort to combat this, I set out writing and recording one short piano piece every day for the last month. The results surprised me. Besides the obvious benefit of forcing me to sit, play, and finish a composition every day, I’ve also found myself opened up creatively and dipping into more than one project alongside this simultaneously.

I think I’ll stick with this daily project for now so long as it continues to give me creative energy and not take it away.

Has anyone dealt with similar issues and if so, how did you combat them?

I am composing as a hobby with no professional background and enjoyed composing this piece. I would appreciate hearing your thoughts and ideas for future improvement.

Fairy Dance - YouTube

https://youtu.be/H_CdVZMc_W4

The quartet was written around 2010, designed one afternoon in a cafe as a project I could finish "in my spare time". It often builds themes around dates (e.g., birthdays). It is 21 minutes long in movements of lengths 5,3,8 and 5 minutes and moves from Bb-minor to A-major.

I: Tempo di Tango - Often with exaggerated expression, melodramatically

https://youtu.be/H_CdVZMc_W4&t=m00s05

II: Presto, as fast as possible

https://youtu.be/H_CdVZMc_W4&t=m05s20

(And sometimes perhaps even faster.)

III: Adagio

https://youtu.be/H_CdVZMc_W4&t=m08s23

One goal in this movement was to use a phrase that worked as a beginning, a transition, an interruption, and a closing. I think of this movement as "Children Playing and the Old Jews Kvetching in the Park". A very personal piece.

IV: Vivace, like some Balkan stomping thing

https://youtu.be/H_CdVZMc_W4&t=m16s26

We think we've arrived but the tune falls a half-step, so it turns out the only way to get back to A is through the evil Bb!

(If you like IV, check out

https://youtu.be/RJWaCJWJIL8

which is also for quartet and has a similar kind of driving energy.)

Composed around 2010.

"Realization" done in the Sibelius notation program using Noteperformer with no further processing.

Thoughts welcome!

How viable is this to achieve? I plan on finding a teacher (or multiple ones from which I would learn all at once) who would systematically teach me everything there is to learn, from solfege, music theory, harmony to composition and everything in-between, all under 3 months. I have the advantage of being a relatively young person, meaning that my brain is incredibly neuroplastic and can learn everything incredibly fast, and I'm also very motivated and ambitious. After I finish my exams, I'm going to find a teacher who is open-minded enough to be up to the challenge (cramming 12 years of material + another 3-4 into a digestible and teachable form for a complete begginer and teaching it in 3 month). I'm willing to pay over 50 euros for each lesson, I have a well-paid job and virtually no expenses, if that would implicate my teacher into putting the effort.

The way I perceive learning to compose is analogical to learning linguistics or mathematics from scratch. You first learn everything intuitively so you can communicate in the language. Then you understand all the intricacies and mechanisms of the language, afterwards which you apply your newly-found knowledge into practice. Slowly, you learn everything more profoundly and in-depth than you ever did, until you can completely abandon theory and focus purely on practice. I've already mentally divided the entire process of learning this specific subject into multiple stages, going in great detail over the problems I might encounter, their respective solutions, how I should approach each stage, all while making sure that I learn everything as efficiently as possible, I just need a source of information. For the record, I'm confident that I could learn all of linguistics and mathematics in under 3 months, instead of 12 years at school. I could get the first 10 years done in 2 weeks but I dont know about the more advanced levels, and I also don't know how well this analogically applies to the entirety of music theory.

I need a teacher who will go over everything until I've systematically and rigorously learnt everything. How possible is this to accomplish? And please, don't have a snobbish attitude regarding my ambitions. I'm a begginer like everyone else was at one point. Otherwise, I'm going to be deeply thankful for anyone who is going to put in the time and effort to read my post.

Score & Recording:

https://youtu.be/bY8kY4qjNXk

Returning for its 4th year, the Evan Erickson Music “2024 Call for Scores” offers professional opportunities for composers around the world in under-resourced situations that make hearing their music played by real performers difficult or impossible. In order to provide unknown composers with great prizes, give exposure, and allow their music be brought to life by real instruments, this opportunity is seeking composers from anywhere in the world who have heard no more than 5 of their pieces premiered across their life to submit (not including self-performed premieres). Please contact Evan at evanericksonmusic@gmail.com if you do not meet this requirement, but you still feel you deserve consideration for this opportunity. 

This year’s opportunity, sponsored by Dorico, Noteperformer, Brian Corbin Clarinet Products, and Royal Global, brings $1,500 in prizes for 3 selected composers. Composers Viet Cuong and Jenni Brandon will serve as guest judges in the semi-final round. This will act as a commissioning opportunity to write new solo EFX Clarinet pieces (clarinet and guitar pedals) to be performed by Chris Mothersole. To learn more about the opportunity, EFX Clarinet as an instrument, and to apply, click here: https://www.evanericksonmusic.com/2024-call-for-scores

Submissions close June 16th. Please submit even if you think you might not be selected - many collaborations have started through this program.

Aasuming I'm starting from zero, which study path would you recommend?

I know scale and chords, but how do I use them?

The piece.

I'm composing this symphony for string orchestra, (very reduced, perhaps I could orchestrate it for a more late romantic/impressionist orchestra), I'm going to dedicate it to my composition and conducting teacher.

A bit impressionistic, I would say! I really like being able to mix a little of each aesthetic to create music that speaks to my characteristics as a composer.

Hello

Here is a recent example done with this tool and minimal musescore intervention by hand:

https://www.youtube.com/watch?v=ufzAj9PpaDI

Here is the link to the tool:

https://musescore1983.pythonanywhere.com/

Edit: How human is it to call someone else a "tech weirdo" just because the method chosen for composing is algorithmic? That's like saying to a fotograph artist: "you are a tech weirdo for using a camera, painting is better". Was it not Bach who created pieces of music, which could be played forwards and backwards? :-O I can see your face reaction for bringing up Bach here, but hey, was he human or not? I can understand that we live in a time, where we have to define for ourselves what it means to be human, but I do not see how ranting against composers whose composition style is different then yours, will help in the discussion. I must admit that the title chosen was a bit provocative, but it was meant as a joke.

I'm currently working on a short film and would like to score it myself. I do have a background in music production so I'm fairly well versed in making music in fl studio but I have exclusively made music that sticks to either a 4/4 or 3/4 time signature.

The idea of making music to fit with edited visuals without sticking to a particular beat completely baffles me.

I'm wondering if anyone knows of some good resources to help me with this?

Thanks.

What the title says really! There are a few discrepancies within the score itself but those will be edited out on completion of the whole quartet. Other than that, its a Scherzo with a lean on the more traditional jovial side...

Score/playback video: https://youtu.be/CXSti7uhwT0?si=kdDEn_feHLwqaT0A

https://flat.io/score/6645dfa6b356e980a0769d31-concerto?sharingKey=0d40dd81140bc4067925a6cc7b19a9259374de21726db851f1078b71ed8e7ce48aff40617a1ddf730eef4c362ac5549a88b1555c01fbdef2f61b9fb8b3387002

My company is contracting with several opera singers to create a library of operatic AI voices for composers and arrangers. There will be an advance-access email signup next week, but for now I wanted to get some feedback here. This is the demo of the first cloned voice, Marco. All voices will be available via our website, and eventually, through ACE Studio.

https://soundcloud.com/turing-opera/au-fond-du

Since I began composing I compose pen to paper in my head and it works great for me, but when I try to transcribe those works into logic it’s very difficult for me to play all the parts ex. Complex sixteenth note counterpoint in three voices

I think I have really triumphed with this piece I just made. I’m not formally trained in music and I’m a high schooler. This feels like the culmination of all my hard work since I was just a extremely confused kid with no music knowledge so I feel like this is a big step forward for me. I put quite a bit of elbow grease into this one. I wanted to share a bit of my happiness and pride in my piece . This is something I’m truly proud of. To put it simply this piece feels way more human and emotional than my other works do.

The beginning sections are inspired by Concerto Grosso for strings “Palladio” 1. Allegretto.

There’s always room for improvement or course. For example, I don’t know how to play any instruments in this piece but I’m pretty sure there’s articulations that could help my piece be playable or more realistic, especially slurs. I love advice about that.

I think next time I want to try and add more harmonic interest into my piece as I stay in the same key and don’t modulate. So I started learning about Neapolitan chords and such. Please give me advice without being snotty. Last time I posted , someone said something kind of unprompted along the lines of “this is why we shouldn’t spread stupid ideas like we don’t need music theory” and that was annoying and probably against the subreddit’s rules. Thank you for your time.

Howdy. I've read a plethora of posts on this page and thought to defer to those much more experienced than I on the matter of composing.

In short, I'm a writer / director of feature films (indie horror / suspense, specifically) with a lifelong passion for music (as a hobby, not a career.) Besides guitar and drums, I'm musically green as one can get, especially in terms of composing / orchestral. Not even 8 months ago the concept of VSTs was completely foreign to me. Yes, I'm THAT green.

Let me preface my concerns with: I know how deep the water can get (I've worked with many composers), so this is very much a full grown man biting off much more than he can chew... for now.

I've been playing with Kontakt as well as Spitfire libraries like BBC CORE. Tons of fun and very inspiring. I'm also applying myself to learn Reaper so I can bridge the gap between my NLE skillsets over to sound.

Here's my goals.

• Self produce genre appropriate soundscapes (from orchestral scores, to ambient tones, to practical sound design and FX.)
• Expand my theory knowledge from pitiful to competent and apply it to my compositions
• Acquire an "essentials" toolkit of hardware and software without breaking the bank. (I'm mid 30s so I have SOME money to play with.)
• Find a happy middle ground of "this is quality and will suffice for my needs" while steering away from a seasoned pro mentality / standard whose entire career is based off of scoring professionally. I know how purist we artsy folks can get and I've sunk enough money into cinematography and high end guitars -- I don't need to collect relic synths too. Haha.

Am I on the right track in starting with Kontakt + BBC CORE? Is there any resources on sound design and composing someone would recommend? I've found great material for many of my needs -- so please don't assume I haven't done some leg work -- but again, I defer to the professionals here in this subreddit for your expertise and words of wisdom to a writer / director out in this great big sea of sound.

Cheers and many thanks in advance!

Sheet music is in the YouTube description

https://youtu.be/iuMjXC_aBws?feature=shared

Sheet Music: https://drive.google.com/file/d/1Sk9X_Ax9AxfRy8BHdh11wqe2AADyRZpg/view?usp=sharing

Video: https://youtu.be/rmC1g1yXrrw

Previous etude: https://www.reddit.com/r/composer/comments/1c0qo5a/harmonic_etude_1/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button

This piece is the second in a set that explores partimento techniques applied on the decatonic major scale. This scale is derived from a chain of 10 fifths in the 22 equal temperament, though for simplicity it’s rendered in good old 12 tet. The decatonic scale opens new melodic and harmonic possibilities in the realm of the 7-limit while remaining tonal and allowing for the borrowing of concepts from jazz or impressionistic music. In this piece, I decided to feature a harmonic procedure known as monte, consisting of rising alternating fifths and sixths, when falling a fauxbourdon with 7-b7 suspensions. Last but not least, this piece is for electric piano. Any and all criticism, advice, or feedback is welcome. Enjoy!!

As someone who knows a few things about theory, but far from having a complete understanding of it, I often wonder if I should avoid learning more. There is something about stumbling around while writing and happening to come across something accidentally that sounds amazing, and you feel like you're coming up with a new style of music (even though you know, you probably aren't).

A teacher once told me to learn everything. He said, "you can always just not use what you learned." I'm not sure if that's true. I feel like if I know all my progressions and scales and modes and popular forms inside and out that it would just become automatic for me and I would stop being as inventive.

Not to get super sappy but I just graduated with a bachelor’s degree in Music Education, and I feel like nothing I write is good enough anymore or at least not good enough to finish the idea. I am wondering if others have experienced this feeling before. Not that I am or was a particularly great composer, but I used to start multiple pieces in a month and sure not all of them would go somewhere but something usually resulted. Maybe it’s just bad writers block or maybe it’s a sign that I am done composing for now but just wanted to hear other people’s experiences with writers block and how you dealt with it.

Hi everyone. These two are my latest pieces. The first is a romance for bassoon solo in F# minor, very andante, and the second is a duet for bassoon and contrabassoon in A major. Please listen to them and tell me what you think about it!

https://drive.google.com/drive/folders/1gemxwHBupWGC2ZgA1h2MmSbr9doFSKIw

The romance is in ABA form, with a central section in E major/C# minor.
The duet starts with a slow introduction and the contrabbasson playing, if possible, A0 the lowest note on a standard piano. Otherwise the first phrase should be trasponsed an octave higher.

Caddywampus: https://youtu.be/zy7Csw-nZK8?si=WpX0qFOWSOsHFVd7

Score: https://drive.google.com/drive/folders/1u_CeqVkH5tOzpyFHc-T3Wc8PERHRg4Kk?usp=sharing