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Seconded. I learnt everything I know about orchestration from arranging other's pieces. You can do it twice, once copying the style of the composer and once according to your own tastes. I am going to push the boat out a bit here and say that 'talent', as it is understood colloquially, doesn't really exist. It's just a shorthand way to describe being perceived to be highly skilled at something, whether that's because a lavish marketing campaign says so or because of years of practice and experience. The widespread (not to mention often inappropriate) use of the word is largely responsible for the lazy assumption that 'talent' is a mystical force that a chosen individual is destined to be born with rather than the result of diligent study and determination, things which anyone is potentially capable of. A better term would be simply ability.

^^^^or Finale!

Indeed!

Talent without refinement and business skills is like a nice car without an engine: It looks nice but gets you nowhere.

Those ignorant to talent are those who don't have it.

vi esto desde ayer pero no respondia porque te contesto por aqui y por alla vas a decir que no te dejo... a ver... There actually nothing to configure in Sibelius, Sibelius is a notation software, focused on the music will be printed, how it looks, I only use the controller to play and listen or input notes, but all the knobs faders are useless, just click in File - Preferences -> input device, "Find new device" and my Axiom appears, that's it. What is what you would like to do with the controller, or what is what you tried ? I'd say if you don't load a super bunch of samples, used the windows audio controller "Controlador Primario de sonido" (creo se llama) About the EWQL into Sib is possible just I don't have EWQL, google for EWQL Soundsets for Sibelius 7...Marius, or other can answer this.

Nah.

It's no big deal. Simply refrain from commenting on uploads without scores or request the addition of scores. Making it a requirement to upload a score will do more damage than anything. There are legitimate reasons to leave one out.

I've always been of the school that one large fantastic work is better than 50 crappy short works. However, for a young starting-out composer, the 50 short works is more useful because you can identify quickly where you need to improve. And, of course, large works take more skill to write which you probably don't have yet. But enough little works and eventually a big work will become possible for you!