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I don't have Finale, so I can't use a piano reduction plug-in(unless they have made one for Musescore, but I doubt it. And I've heard a lot of bad things about Finale, much more than with Musescore or Sibelius. Things like that Finale is tedious, that it isn't easy to find things, that it's an overall bad notation software compared to it's peers. But I know what you mean by unplayable mush. I've tried putting midi recordings in Musescore and I get a bunch of triplets. Triplets crossing bars, Off beat triplets, On beat triplets, Quarter and Eighth triplets, all because of one thing, it isn't really triplets, but just a natural rubato I have as a pianist. I never play exactly to the metronome, but close enough. And that fools the midi into thinking I'm playing triplets all over the place, when I am only playing triplets where I feel like playing triplets.

Hah! Strepitoso? I learned that from Liszt. Yeah: "noisy". Thank you indeed for listening and your kind comments. The folk tune is from Haiti "Yellow Bird". I should go live in the tropics they afflict my lighter music too much. Sitting on the beach in Jacmel... The tune seemed light and bright enough for the piece. There's another section as a chorus but that really would have extended the work. Thanks again.

@mercurypickles Hi again. That method above is particular and specific. It's not going to work for all the music. Unless you keep the basic rule: MELODY + BASS is the essential, I insist. Not only for a piano reduction but for any compositions we can make. If you don't have those parts perfectly represented, your reduction will sound different. Go to google and check, your. see everybody says the same: https://kevinpadworski.com/2015/08/20/the-art-of-the-piano-reduction/ here are six basic rules that I humbly submit when considering a piano reduction: 1. Don’t consider it – do it. Music notation is cake nowadays, so just add the extra stave and your pianist will thank you for it. 2. Know what to omit. This requires knowledge about orchestration, both chorally and orchestrally. For orchestral reductions (who does write these, anyway?) identify doubling and core melodies, and make it feasible to play with 10 fingers. For choral reductions, utilize stems to identify parts, words like unison, and articulation and breath marks. 3. Keep the melody and the bass parts. 4. Maintain the vertical harmonies, but remove those unison notes. 5. Always maintain the rhythmic integrity, but… 6. …Know what is idiomatic for the piano. Some notes shouldn’t be played in that octave on the piano. It sounds terrible. Some passages are too fast for most rehearsal pianos, particularly repeated notes. The keys won’t respond. Make it a tremolo. ------------------------ Just try. Take a single phrase of what you have to reduce to piano. First: analyze it, harmony, what's important and what not (unisons, octaves, etc). Write the melody above. Write a representative bass line. Fill in with harmony and rhythm.

@AngelCityOutlaw I'm sorry things got so heated before.. I just really didn't know what "melodic fission" was (and I still don't). So that was part of why I got so frustrated. My comments were reasonably uncalled for and all I actually wanted was some help. There are just a lot of interlocking parts to this piece and all kinda have to be there for it to work, I'm not saying there aren't things that can be cut for it to be playable, I just don't know what. If you're not too upset, could you still try helping? I feel really bad about the argument.