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I've been given a gift from God. I use it for his Glory.

I write music as a way to communicate. I write music as a way to preserve memories onto paper. I write music to evoke emotions. I write music because it's pure.

To impress girls.

because people don't listen to me when I speak

Because I have attempted not composing and it's too much of a nuisance.

Because composition doesn't work like that. Its not like you have a form and you plug in variables and then out pops music. Its far more creative and mysterious than that.

No, I meant that many classical guitarists cultivate a dynamic range between pianissimo and mezzo-piano. Starting out as a mellow instrument to begin with, that tends to intensify the effect. I'd agree that it's not an easy instrument, however.

I've been given a gift from Satan, given to me for my soul, I use it for his glory.

Where is this reluctance you speak of? Come on, know a bit of history before asking a silly question. Just a short list of pieces that use the brass a heck of a lot and/or they are crucial to the effect. Mahler 1, Mov. 4 Mahler 2, Mov. 5 (and 1 somewhat) Mahler 3, Mov. 1 Mahler 5, Mov. 1, 2, 3, 5 Mahler 6, Mov. 1, 4 Mahler 7 (meh) Mahler 8 Mahler 9, Mov. 3 Bruckner 7, Mov. 1, 2, 4 Bruckner 9, all of it. Strauss' Don Juan Strauss' Ein Heldenleben Tchaikovsky 2, Mov. 4 Tchaikovsky 4, Mov. 1, 4 Tchaikovsky 6, Mov. 1, 3 Wagner, pretty much everything he ever wrote ever Stravinsky: Rite Stravinsky: Firebird A bunch of other operas such as the Verdi you quoted. Shostokovich 5, Mov. 4 (and 1 somewhat) Berlioz: Requiem, Tuba Mirum Berlioz: Symphonie Fantastique, Mov. 4 and 5 Respighi: Pines of Rome, part 4 Mussorgsky: Night on Bald Mountain Mussorgsky: Pictures at an Exhibition, Catacombs, Great Gate of Kiev (and others) Holst: Planets, Mars, Venus, Jupiter, Saturn, Uranus I might as well name the entire Romantic period minus stupid composers like Grieg, Schumann, and Chopin who didn't use the brass sections effectively. Any questions?

Counterpoint rules is certainly one part of what I would like to see. I imagine this working along the lines of my understanding of how screenplay software works. You say something like, "I would like to write an action adventure movie" and it spits out a "template" built around things like having an exciting sequence every ten minutes, and keeping dialogue terse. These are simply suggestions and can be ignored. In similar sense I'd like to say, "I'd like to write a sonata," and have software offer a template (First theme, Second theme, transition, Coda etc) and suggest things like "Your first theme is in E mi, so your second should modulate to G (according to conventional rules.)" It might even suggest possible paths to handle that modulation. I think we've all got a reservoir of ideas (either in a notebook or on paper) on how to handle different situations - say, "how to rewrite a minor key melody in the major key", and this tool could offer and apply these ideas. It could also go through a piece and highlight things like parallel fifths and other "errors." (Maybe that's what this counterpoint software already does.) To be clear, I'm not saying the the software writes the melodies themselves, but rather suggests structure and provides general guidance. I know there's a guy who wrote a piece of software that actually writes music, and I would think this idea would be easier to implement. http://www.miller-mccune.com/culture/triumph-of-the-cyborg-composer-8507/

I've experienced this before, which is similar: I write an 8 bar melody and I get emotionally attached to that melody on its own, and am afraid to put the melody in the context of a full song because it the song might not do it justice. At such times, I just sit down on the keyboard and experiment with chords, use my DAW, or listen to one of my favorite composers and I usually come up with another piece of the puzzle. But I'm never in a mindset where I feel I have to write something, because I don't think you can will inspiration.