BEFORE POSTING:

Hey so I wrote a piece recently inspired by the book 20 000 leagues under the sea I wanted to capture the journey of the great ship the nautilus with a wind quintet. This is also my first ever wind quintet I wrote I love to be humbled please give me any picky suggestions or issues in the piece

All the best to everyone

Happy writing!

https://musescore.com/user/74620954/scores/20162560/s/IO0h0_?share=copy_link

I wrote this and i'm not even sure if it's playable but i like it and i'd like some feedback

https://musescore.com/user/90509830/scores/21665023?share=copy_link

I'm coming from a musical background and mostly do all of my composing on an instrument, or I will write it out on something like MuseScore, or on paper.
Recently, I have been getting more involved in film and documentary, and I have people who might want scores for their short films from me in the future.
my question/discussion is, what is the best software for making good sounding film scores, with features such as a piano roll, and a large sound/sample library?
Ideally I would like something that doesn't sound overly synthetic, and has a friendly interface. what are the programs I would need to start doing this? I have the musical ability and the knowhow to figure it out, but I don't have much experience in digital music at all

Hi everyone. This is my latest composition, a one movement work for trumpet and piano.
https://drive.google.com/file/d/1pHqPi2PX4Yq37eRb14lItOVPzGB9MJ5P/view?usp=sharing google drive pdf score with musescore playback
https://musescore.com/user/34088262/scores/21641470?share=copy_link musescore link
It starts with a short piano introduction followed by a trumpet cadenza. The piece is in two sonata forms, one after another. The first is supposed to be andante and melodic, and the second is energic and lively. Please listen to it and tell me what you think of it!

I'm a 17 year old composer, in desperate need of some feedback, as I've just only started composing a couple of months ago. I've just complete a set of 8 short preludes, needing of correction and/or feedback. Reviewing all 8 would be incredible but since I expect no-one wants to listen to that many pieces for nothing, No. 6 and 1 are my favourites.

https://musescore.com/user/75557707/sets/12666145

Hey everyone one, I made a video trying out the updated score editor in Cubase 14 and it's integration with Dorico! If you were considering getting Cubase 14 or switching to Dorico, this video is for you! Link is also in the comments. * https://youtu.be/AKXAK_qsm_0

Hello,

here is my latest composition called " Hope of Tomorrow" in D minor. https://www.youtube.com/watch?v=a136eMdMvnY
Your cirtique is welcome

Its supposed to be written in the "Sonata Form", its up to you to judge, if i´ve missed the mark.

I've been trying to get into compsing orchestral music lately and have tried the month free trial of Musio and to my admittedly amateur ears I think it sounds really great. I tried to sign up to the monthly subscription but for some reason any method of payment I attempt fails, both Visa debit and Amazon Stripe. But then on my login it tells me I have an active subscription, even though I don't, and I can't use the software. I'm in the UK btw don't know if that's causing the issue? It's particularly annoying because I've composed quite a few pieces with it. Wishing I'd bounced the tracks down while I had the chance. Musio 1 is actually on sale at Plugin Boutique for £124 and I'm tempted to get it because I'm actually able to pay for stuff on PB, but with the issues I'm having with their website I don't even know if I'll be able to get it work on my PC, and if I do manage to get it working whether Musio 1 entitles you to any new libraries they plan to add to it. The price seems very low for what it is, hard to believe it would grant you lifetime access. Has anyone here who uses it had any difficulty with subscription?

I'm not trying to stir anything up, and obviously he's helped a lot of people, but I've tried reading my second book of his ("Harmonielehre" in German), and it was going down worse than the first one ("Composition").

I didn't even get to the meat — every time fizzled out in entrées. He sure has a lot of opinions, and while I do agree with some of them, overall he comes across very full of himself and basically insufferable.

Of course, your mileage may vary. Fortunately, I have no dearth of reading material, so no worries on that front.

I wanted to show my daily music journal when my day is terrible(bullying) and i’ve been experimenting with (quarter tones?) http://musescore.com/user/72849337/scores/21647035/s/b78Bu7

https://youtu.be/s7uVBs0l9gs

"Rage Over a Lost Election".

11/02/2004: I wrote this in the wake of the Nov. 2, 2004 election, very angry at the outcome and the circus that American politics had become. (Who knew?) I have thought of it as "Rage Over a Lost Election".

The rhythm "1-1-rest-2-2-rest-rest-4" in notes per quarter is banged out in one theme of what would be a double fugue if it wasn't always peeling away on some crazy tangent, then off into a self-satisfied lounge tune, a circus tune, a bombastic fanfare. A short bridge, then back to the "fugue", which, after the tune and its inversion are shouted at each other by two halves of the orchestra -- with the other tune of the fugue having become the "children's taunt" -- resolves, kind of, in a long winded self-congratulatory circular cadence triumphantly arriving in the wrong place at the wrong time before winding its way back through the lounge, circus and rally to the end.

The piece is the second movement, marked "Presto Frenetico", of my (unplayed) second symphony. The original sketch of the symphony called for a five minute interruption, as if someone had been sitting peacefully by the side of a lake when a biker gang came out of nowhere and beat the crap out of them. The 2004 election provided sufficient inspiration.

In a note to any potential conductor I suggest that if the orchestra can play the fugal sections they aren't going fast enough. Frenetico!

In the symphony, also posted on youTube, https://youtu.be/38qNqAEIb-g
everything works out! A soprano comes out and sings a song about roses, rainbows and recovering from an illness and love being her indomitable source of strength, ultimately leading to a happy ending.

This is the NotePerformer take from Sibelius. There is an even cheesier (GarageBand, c. 2007) take on SoundCloud which may have disappeared by the time you read this.

Hi! I spend a lot of time on trains, just looking at my phone.

Does anyone know of any apps that allow me to doodle with ideas like chord progressions and melodies? I don't even necessarily need sound (although obviously preferred), just a good visual interface that's intuitive and lets me mess around so I can generate ideas and audition them when I get home to my computer. Anything with a piano roll is also welcomed!

my attempt at depicting a romance between the moon and the sun. feedback is welcome

score

audio

I’ve noticed that there are a lot of YouTube composers with decent followings who copy Chopin’s music without even seeming to realize it. Ive seen a slightly different version of every famous waltz and etude being called an original piece by someone who clearly thinks they’re the new Chopin. I don’t think these composers even realizing they’re copying music from other sources, or maybe they consider the original piece merely an “inspiration” when it’s almost the same thing. It’s concerning to me that this many people are capable of copying music and then Thinking it’s their own original idea. Since they somehow have large followings and I don’t it makes me concerned on whether or not I would be able to keep credit for my music. Am I being paranoid?

Seriously, the sheer number of things going on exceeds my mental capacity.

When it's 3-4 notes pizzicato, are the strings strumming or plucking? Or are they divisi?

Wait, it also goes arco... Unless I missed something, they must be playing double stops?

If you can't tell, I can't actually hear what they're doing under all the other noise.

Hi everyone. So… I’m currently doing a composition that includes various instruments, and there is a part that I want to write only for flute and voice. This piece is very much into the modernist ways and aesthetics and so I did some research about the flute’s extended techniques.

The problem is that now I have a lot of information about the techniques, but really no example of how they sound in the repertoire. I am not familiar with flute repertoire, so I was wondering if you could recommend me some pieces (apart from Berio’s Sequenza 1, ofc) that use these kinds of techniques (ideally with a visible score so that I can see what is going on). Also if you have any other resources that you would like to share with me, I’d highly appreciate it.

Thanks!

I know tambourines are used and some timpani for a very short part is also used. But I can't figure out what else is used... I've tried bass drum and tailoring drum but no luck

I often find good ideas for little fragments of a melody, but I have trouble expanding them and working them into a complete melody. For example, I'm pleased with this single phrase I wrote, but it's just that, a fragment of a melody, and I don't know where to go from there. How do you overcome this sort of writer's block and expand on your ideas?

Can anyone explain to a layman?

A little miniature I wrote yesterday.

Score: https://drive.google.com/file/d/1xQ4M-pdsmG6J7TMmuQwTeGX2CKTJS9oz/view?usp=drive_link

Audio: https://youtu.be/Fuln-yiuET4

Hi folks!

For a university course final project I was assigned to make a composition inspired on some of the 20th Century composing techniques and I'm very keen to try and make a Graphical Music Notation Score and I'm looking for software to make this happen or have a canvas to start with...

I've sort of found some software that would be most likely the closest to making this kind of music, and to those who are not familiar with this kind of scores you can look up for Luigi Russolo's Risveglio di una città, Iannis Xenakis' Pithoprakta (also this arrangement for Diamorphoses by Flavio Monteiro, he seems to be using some sort of plug-in? I think...) and Penderecki's Threnody. These scores are not very conventional compared to others as it doesn't follow the already stablished notation system we use for any other composition.

The software I've found are the following:

- Iannix
- SPEAR (Sinusoidal Partial Editing Analysis and Resynthesis)
- Cecilia5
- AURAL SONOLOGY PLUGIN
- Virtual ANS

However I couldn't find much info or tutorials on how to use them or some like Iannix have a way more complex and steep learning curve, so I kindly ask for help for anyone who has used any of these programs or knows better tools for making this type of scores.

Thank you in advance

Been liking works of Ravel way too much. Also realized some Pixar movies also have similar sounding soundtracks. What makes French composer's work pop out than others? Also how can I implement these methods in my works?

A short story about how I came across the idea I needed to reread my favourite childhood book 20,000 Leagues Under the Sea for a research paper for uni.And so the idea popped into my head doing a bit of research surpassingly not many compositions popped up so I tried to describe the mighty submarine's journey (the Nautilus).  In my composition (or at least tried).

feel free to give me feedback or criticism I really want to improve my craft (:

Link to the score and audio: Click here

hi fellow composers, i am composing a duet for violin and viola right now and i’m really struggling to find a way to make the voices sing and interact with each other. it just seems like they’re taking turns singing the melody then reverting back to accompanying. any tips/advice?

EDIT: meant ii V I not II V I

I found when I’m composing, which is just semi improvising on piano—i don’t enjoy writing—a lot of my musical ideas follow the ii V I progression. I don’t think this is a problem since I enjoy the stuff I make, but I try to move away from it for the sake of novelty. Do other people fall into the trap of that progression which feels so natural and strong?

https://youtu.be/OLDGN4Wy81o?si=MZ1UTSvFHf0io1fw

It's a relatively small-scale work, but I've been wanting to practice orchestral composition for a while now. I especially love the melody from 0:46 - 1:12!

Let me know what you think :)

(Audio and score are included in the YouTube link above)

Hi everyone! I wrote a short opera libretto (5-6 pages) for fun and practice. I tried to put it in music but I'm just not that good at orchestrating. Would anyone be up to collaborate and give it a shot? The libretto is in italian (because so am I). As subject I used the first chapter of Dostoevsky's White Nights. This would be unpaid, so I understand if anybody passes, but if anyone is down let me know!

If you want to check it out here it is: https://drive.google.com/file/d/1J2kabb-rUq-tC8FmtTGYIutjcXVkwATA/view?usp=drive_link

I am looking to start studying composition, but before I start I need to decide which book to focus on. I already have “Musical Composition: Art and Craft” by Alan Belkin, and “Fundamentals of Musical Composition” by Arnold Schoenberg. If anybody has read one or both of these I’d appreciate your thoughts!

I am an aspiring composer who has played instruments for years but only made half-hearted attempts to start composing. Any advice for learning strategies would be welcome and appreciated!

I’m trying to write all of my music as lyrics first. I’m just concerned about how to make sure i’m writing lyrics that are properly written and capable of being turned into good melodies.

What i’ve read in a few different sources online is that you don’t need to have to have the same number of syllables per line but there needs to be the same number of stresses AND something about the order the stresses needs to match?

For example a set of lines stressed syllable, with 4, 3, 4, 3 would be balanced but 3, 1, 2, 4 would not be balanced or something like that? Like 3, 1, 2, 4 would be missing repetition and therefore, sound less melodic once you set the rhythm and pitch of the lyrics you wrote.

From my understanding so far, you typically want to keep the amount of stresses in your lines the same as well and syllable counts not too far off from each other. Kind of similar to keeping a balance with the rhyme scheme. Like you wouldn’t do an ABCDEFAB for a chorus rhyme scheme instead of like AABBAABB. So, you also wouldn’t have a bunch of different stress counts in the lines.

For verses they venture out a little more, but even then you still keep up the repetition correct? You wouldn’t have a bunch of lines with different stress counts…

Thoughts?