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Hello A few years ago, whilst on a course I took on ‘Contemporary Composition Techniques’, I wrote a short piece for piano which I later revised and titled ‘One more try’. Recently, I had the idea of orchestrating it. It is written in a free, non-functional, chromatic style. The score isn’t condensed because the instruments that come in pairs often have very different or distant lines. It’s in concert pitch. Below is a video of the piano version. One more try orch.mp3 One more try orch.pdf

I think his name is actually Mason..🤣

Hello fellow composers! I wanted to share a short piece I wrote called Morning Meadow. This is part of a broader goal I have of writing short, simple pieces. With this one, I was trying to focus on melody, color, and restraint — something peaceful and dreamlike, but still gently expressive. The instrumentation is solo flute, harp, and violin section, with the harp providing a soft arpeggiated texture, the flute carrying the main melody, and the violins entering later with a slow countermelody. I kept the harmony fairly simple and color-focused, and I was more interested in creating a clear atmosphere than building a large dramatic form. I’m happy with how the piece turned out overall, but I’d really appreciate outside ears. I’d love feedback on the composition, orchestration, mockup realism, balance, phrasing, or simply whether the mood comes across the way I intended. Thanks in advance! Morning Meadow - Concert Score Ver1.pdf

Wow!! These are great! I only wished that you posted these separately, as I hope these pieces get the attention they deserve being all together. I love this one, the drama in it is set up nicely with the climax, and the chord colors are wonderful. Great too, I maybe would have made bar 46 twice as long to really set up the cadence. Beautiful in it's simplicity, I like that you spread out the difficulty in the set, letting some be much easier to play than others. It gives a better flow to the pieces as a whole as well. Part of the arpeggios are in the right hand, correct? I would have notated that in the score. I really like the drama in this, and even though it wasn't my favorite theme, you developed this really well. I like the texture change in the middle. Lol mock serious swagger :D This was super fun! The jazziness was a welcome change after the first 4 pieces. What about marking "freely" at bar 27? Do you want the RH rhythms right on the dot? Or is there an improvisatory aspect you're going for? It might be cool to let the player syncopate the rhythms to go with the steady walking bass. I like that this one broke away from the ABA style, I like the evolving part of the form. like an ABAB, textures markings the sections. I really like those ethereal RH figures with the low bass. Awesome fun! Kind of reminded me a bit of Baba Yaga, Mussorgsky piece. The ffffff is kind of excessive, but I'm guessing it's for playback purposes. Loved this one! Much needed after number 8, as overall these preludes are on the heavier side. It sounds sweeter to my ears after the last one. Ended with a bang, the drama is great here! I must say, that overall I really loved the order of this set. Not sure how intentional it is, but it really made listening to this as a set more fun and enjoyable. Your talent is massive, I wish we heard more from you! Life is busy, but I'm glad you find the time to stop by and share what you've been working on. There's some small editing errors, nothing major that jumped out at me (copyright 2025, stuff like that). Your style is right up my alley, and I immensely enjoyed these. Thanks for sharing, friend.

The idea for this composition was inspired by @MK_Piano, after he sent me some footage of himself improvising in C minor on piano. I asked him if I could write something inspired by what he played, and was graciously allowed to do so. The piece utilizes a steady quarter note / eighth note moving rhythm and melody that symbolizes the passing of time during, and the emotional feelings felt in periods of contemplation, longing, rumination, and/or sorrowful reflection. Although, I feel as though it may be a bit too repetative, despite having variation in both rhythm, chord voicing, chord progression choice, including a modulation towards the end. I'm seeking to build upon the ideas I have in this score, more effectively. Any suggestions are welcome :) **UPDATE** Score Files updated to reflect any/all decided changes, based upon suggestions within this thread. 6/23/26 1:25pm EST Unread Letters.pdf 34823585.mp3

Hello, I posted an earlier iteration of this work some time ago. A lot has since formed. The general structure of the first movement is complete; I still intend to vary the recapitulation somewhat as I prefer to not simply repeat the second subject verbatim. But it is more or less done. I have also made a start on the second movement. This movement has a slightly unusual disposition and is on the way for becoming an ambitious piece with its emerging structure in mind. I am posting here in advance of completion to gauge people's feelings about the musical ideas. Perhaps if anyone has suggestions I would love to hear perspectives. Or even if you like it, that helps to say too. Composing is otherwise an activity for solitude! Second movement is @ 05:40. Thanks! Markus Symphony in A (Draft).mp3 Symphony in A (Draft).pdf

If I limit myself to works not written by me, one of my favorite orchestral works on this forum is this: Here is also a "classic" favorite of mine by @gmm :

Thank you, Mason. I will amend the score layout this morning. I appreciate this will make it easier to scrutinize for those having a deep dive. The current view and lack of repeats is intention for my own eyes and there is often no point having repeats during this phase of work. But yet, with the repeats the first movement will be at least 10 minutes once I am done with it. You seem to be a guy who knows his stuff. Very much looking forward to your comments. Will check out your stuff too!

Hi everyone! I composed this short waltz for piano today. I'm still practicing it, so for now I've used the sounds from MuseScore 4. It was inspired by Tchaikovsky's Album for the Young, Op. 39. The opening melodic motif is quite similar to that of No. 8, "Waltz," and I also used some harmonic progressions that I learned from No. 14, "Polka." While studying and practicing pieces from that album, I started wanting to compose several short piano pieces and create my own "Album for the Young." This is my first attempt. It is a waltz in B-flat major, although the tonal center shifts around quite a bit. The form is ABA', with A being the main waltz theme and B a slower lyrical brief section in Cmaj. As always, every feedback, comment or suggestion is more than welcome and hope you enjoy it! Thank you!

Hello! I have completed a first listen and looked over the score. I hope to do a deeper dive and analyze the score thoroughly, and the following are my initial thoughts. Very much classical style, and quite refreshing to hear something in that style again. Check your engraving. Over the entire score, you have rests with dynamic markings. Page layout can be bigger or staves made smaller. At least 4 measures per page. There is key information missing from the score. If anything, the number of instruments as well as copyright information. You just say "Flute, Oboe, Clarinet," however, do you intend for more than 1 player for this part? Between the two movements, in Musescore, you can add a "SYSTEM BREAK" which will end the piece and add a pause after a double bar line. On the next page, it will list the full instrument parts again. (in the layout palette) With the literal music, there is more play you can do with the structure or in your accompaniment parts I think. 5-minutes for a classical symphony is on the shorter side and you can mess with the idea of a repeat after the exposition and utilize a 1st and 2nd ending to propel yourself into the development. It's not a "double exposition" per-say, however very common for the music of the time.

Hello @Kvothe , thank you so much for all the feedback and glad you enjoyed the piece! You are right, I had not realized until you pointed it out. I decided to change those measures so I modified m.14 and similar measures so now the transition to the contrasting section of A is done without stopping the waltz rhythmic flow. I experimented a little bit with the harmony. In general I am happy with most progressions except for m.7~9 where I do the following harmonic progression: Db7 --> Bbaug/D --> Ebmin. It was a solution I came across for moving from Db7 to Ebmin while having an enharmonic common tone (F#-Gb) in the melody. Yes, I agree. Since I composed it as a short piece I tried to have fun with the main melody (not trying to write sentence, period or hybrid, which I did in the B section instead) but it came out too Jazzy. I do like it but I think it gets too chromatic too early (so I like it the main theme much more during the reprise than at the beginning, once the ear got used to it). I think it is okay for a short piece like this but I am trying to learn ways to "smooth" the way to chromatism in themes like this one. Thank you so much for all the feedback!

Thank you for the clarification :) I will consider it moving forward and update with any changes!

There is a key change but, I was meaning mostly the change of tessitura and texture (in that particular instance, besides changing the key, you leave large gaps between the accompaniment and the melody, which contrasts with the previous measures in which the G staff was clustered with notes). What I meant around 1:50 was not a modulation, but rather a change in tessitura for the melody. I might be wrong, but the same melody is played for the first time around the 00:59 mark, which, at the same time, is a variation of the main melody with which the piece starts. As a result, while my ear does not ask for a key change (the initial Cmin chords from m.34 sound perfectly nice to me), when the G5 sounds, yet once more, somehow my ear is tired of hearing the melody always in that range. I think, at that point, it would really make it much fresher playing the melody an octave higher or even in a bass (with the melody played below the Cmaj accompaniment chord), starting it in G6 or G3. For example, this is a fast draft I made of the initial measures when played an octave higher. Since the melody has already being played in around G5 for a few times, it might make it fresher going up an octave like this. The melody has some fast notes at times, so it cannot be played in octaves easily, but something like this might work at times. octave_melody.mp3 Hope it helps!

Thank you very much dear Henry. I hadn't seen your beautiful comment. I really appreciate your feedback which shows an attentive listening to details. Unfortunately, I lack the time to participate more in the forum but I will try to keep myself a little more informed of the news. Thank you again!

Hi @JorgeDavid, Below is my review of your waltz: Form: There are two district different sections that have their own character with the composition. The tonal centers and relations between is not common. I feel this would fit with in middle romantic period. I am not sure about the dramatic pause at the end of melodic phrase. It is rather sudden and jarring. It disrupts the natural flow of piece. Harmony and texture: There is a high sense of chromatism with in waltz. I wonder about how those harmonies are prepared and resolved correctly. The bass line fits with in the standard waltz type pattern in first section and breaks away in the middle section. Thematic material: A couple things to note: the ending of each melodic phrase with chromatic note seems unsettling. G-F#-A. While there is a sense of melodic sequence with each phrase, it is hard to detect the general structure (sentence, period, or hybrid). This was original piece and was truly creative. With in my musical taste, I like to hear more music like this. I.e. find a way to create a natural flow with each phrase. think about what I said about structure and form and how the works with the underlaying the harmony. Otherwise, you good start. Kvothe.

This is really lovely! I especially love the melodic ideas. However, I agree that it feels a little repetitive at times, particularly before 3:22. I listened without the score, so I can't give much feedback on the harmony itself. From a listener's perspective, I think the piece could benefit from a few more changes in texture here and there. Nothing too obvious, so as not to disrupt the contemplative mood. For example, I really loved the change of texture at 3:22. More moments like that, might help reduce the sense of repetition while still maintaining its contemplative flow. In particular, at 1:52, I found myself wanting to hear the melody an octave higher (perhaps doubled in octaves). As it stands, it presents a variation of the main theme in the same register, and my ears were asking for a change in tessitura at that point. This is really beautiful and an orchestral version would be so beautiful too! Orchestrating it would also give you lots of chances to add variety with the instrumental colors. Thanks for sharing!

A lovely piece. I like the relative simplicity of the composition. A suggestion: given the calm, dreamy, almost ethereal nature of the piece, perhaps you might have tried using harmonics on the violins in the upper register, as these are long notes that are relatively easy to play. I don’t know if you’re familiar with this, but it’s a very effective technique for pieces like this. Almost like a ‘rule of orchestration’, I think the harp should have a note at the very end. Otherwise, the player is left ‘hanging’. Of course, you can write whatever you like. Best regards.

Hello I’d like to share part of my Humanist (non-religious) Requiem project, in which I’ve set myself the following objectives: To use a blend of contemporary and traditional languages To use texts by poets who fascinate me To write calm, short pieces To mix Latin with English I’m using Cantai for the vocals – it’s not the best it could be, but I’m happy with it. For the instruments, I’m using Noteperformer. Everything is managed within Dorico. It’s an idea I’ve had for a long time, one that expresses – or at least attempts to express – my concerns in this life....... Best regards. Introito.mp3 Introito- The Origin.pdf

Hello, friends. About three years ago, I penned this song cycle for a friend from El Salvador, based on poems by the beloved Salvadoran poet, Alfredo Espino. These hold a special place in my heart because they're the last music I've ever written, though they were sadly never performed. The songs and directions are completely in Spanish. Here they've been rendered by Cantamus (unfortunately sung in a Castilian accent and not the Latin American accent spoken in El Salvador) and the piano accompaniment has been [poorly] played by me. They're not the best recordings and some of the lyrics didn't render properly, but hopefully they deliver the music effectively. The cycle is chiasmic in structure (i.e., the first and last movements and the second and fourth movements mirror each other) and it tells the story of a day in El Salvador. I. Madrugada: This means early morning. The lyrics and music represent the waking of the Salvadoran countryside: farmers starting their day, roosters crowing, birds chirping. It begins mysteriously but soon "warms up," preparing us for the rest of the song cycle. II. Plombagina: The title is about a tiny flower found along the riverbanks in El Salvador; here it represents the playfulness of the river and the hopefulness of midmorning. This one is unmistakably waltzlike and lyrical. III. Tardecitas: "Little afternoons" is a piece about watching the rainfall in the heat of the day. It's lazy and less ambitious than the others in the cycle, representing the languor of a dreary, rainy day. IV. Estrella in el río: We return once more to a song about the river, this time in a more contemplative frame of mind. "Star in the river" is shimmering and reflective, capturing the tranquility of twilight as the stars begin to pinprick the sky and cast their reflections into the river below. V. Nocturno: While "Madrugada" expresses the joys of a new morning, "Nocturno" explores the angst found at the close of the day. It's by far the most restless of the cycle, employing a sort of perverted tango rhythm in mockery of the soothing sway of a nocturne. In it, you'll find themes of grief and fear and anxiety, embedded in harmonies very reminiscent of Spain/Latin America. Even if you don't understand Spanish, I hope these songs move you and perhaps inspire you. As ever, I'm happy to receive any feedback you may have. Best, Jordan Canciones de El Salvador.pdf I. Madrugada.mp3 II. Plombagina.mp3 III. Tardecitas.mp3 IV. Estrella en el río.mp3 V. Nocturno.mp3

What fascinating music. The compositions are fantastic. The piano part is very well crafted but complements the vocals perfectly. I think you’ve captured many Latin rhythms perfectly; in this style, it’s difficult to separate the Spanish from the Latin American elements, as the influences are mutual. I really appreciate the effort you’ve put into playing the piano yourself, as I understand it. The overall sound is very distinctive because this cycle of songs sounds entirely like a style of popular Spanish ‘tonada’ (from which the ‘tonadilleras’ are derived). Originally, the ‘tonadilla’ was a traditional Spanish song of a cheerful and popular nature, performed as an interlude or at the end of satirical plays between the 18th and 19th centuries. Over time, the concept evolved from classical theatre towards the café-theatres and variety shows of the 20th century. Nowadays, the term is directly associated with the great divas of Andalusian copla and Spanish folklore, characterised by their high level of expressiveness, the wearing of long-tailed gowns and a highly dramatic stage presence. Initially, this type of music was accompanied by the guitar and perhaps a small orchestra featuring folk instruments (castanets, tambourines, dulzainas, etc.). But at the start of the 20th century, it evolved to be accompanied by a solo piano – which is how your music sounds – and it also has a very strong ‘cabaret’ feel to it, as it is recorded live, as I gather. As for the language. Well, I’m a native Spanish speaker. It’s quite – very well done. I’m also struggling with these programmes that sing along to lyrics… and I know what a pain it is… The accent is very neutral. It certainly doesn’t sound like any Latin American accent I recognise, let alone an Andalusian one. It’s close to a central Spanish accent (Castilian, as you rightly say) but there are moments when it sounds a bit ‘forced’ – something that many real singers in Spain do. Bravo, and it’s a pleasure to listen to it. And I love it when someone delves deeply into cultures that aren’t their own, perhaps, to bring all this out.

Hi, UncleRed99. This forum often seems so advanced that I hesitate to comment on others' work, but I saw your Chatbox and decided to take this opportunity to leave a comment. Please note in advance that I am a beginner. Feedback/Impression: First, I tried to look for the video by MK_Piano, which was your source of inspiration, but I couldn't figure out which one it was. As a result, I wasn't able to check how you developed it, though I was very interested. In my honest opinion, while I did feel several transitions and the descriptive scenery based on them just as you intended, the piece felt a bit redundant. Assuming that redundancy wasn't the concept of this work, I felt that adding more dynamics to the left-hand chords could help improve it. The new section starting from 4:16 is wonderful. To me, it felt like a temporary relief and liberation. When I first heard this part, I imagined strings playing in my head :) I didn't have any particular complaints about the part from 4:16 onwards, but as I mentioned earlier, the sections leading up to it felt a bit redundant. I felt this especially during the section starting around 0:30. Also, for the transition starting at 1:52, I thought it might be nice to halve the number of times the left-hand chords are played, or reduce them even more, to make the texture sparser and create a more melancholic atmosphere, and then burst into the open atmosphere at 2:33 all at once. The transition starting from 3:22 felt so abrupt that it seemed a bit disconnected from the concept. I couldn't think of a concrete solution, but I believe a smoother transition would suit it better. P.S. I'm sorry if these advices aren't very useful, but I hope they help even just a little. By the way, I would love it if you could tell me what plugins you used. Thank you. Best, Lithl.

Yeah, that's the idea and one of the possible changes! However, in this version you changed the melody at the cadence right before. In this new version the melody at the end of the previous section soars higher than in the original one. I think, if you play the melody an octave higher, it is better to keep the melody prior to that in the same range as in the original version, since, otherwise, it breaks the novelty of the higher rang. You could also keep this new melodic ascend at the cadence and that might add some contrast for the entrance of the original melody you had in G5. Also, I think in both versions, one of the main issues is that the Cmin accompaniment chords are too loud. I would make those chords much softer and, in general make that whole section softer than the previous one (both melody and accompaniment, but specially the later). Thiis dynamic change could also help quite a lot.

Very nicely done! The romanesca bass never stops giving! What is the software that you use? PS, watch out for the voice leading in a few places. I spotted an instance of parallel fifths between the bass and Viola, but otherwise you have done an excellent job. May I ask what your inspiration is when you compose such music… what do you set out to achieve?

Hi Luis, To those familiar with my work - and indeed myself - the words, "free, non-functional, chromatic style" might be thought to ring disaster to my ears. Although this is not quite true. I am particularly fond of Ligeti's work (his Six Bagatelles for winds), for example, as well as some early work by Arvo Pärt (see his Pro et Contra). Even madness has its place in my world of listening. For me, what matters most is producing something of character in a way that somehow embodies the human experience in a convincing narrative. I felt you did this quite well, actually. I recognize that the decisions behind the atonal approach, while seemingly devoid of foundational theory, can be intentional rather than a mere free for all. You should develop it more. Will keep a look out ☺️

Just retuning this. I incorporated your suggestions (attached). This was a huge help, actually. I haven't paid much attention to the presentation of my scores - at least during draft stage - but I now recognize that it is a kind thing to do when sharing our work with others whatever stage of the process. It was also a valuable lesson for me exploring how to do this properly in MuseScore (some functions I have never used). As part of the formatting I halved the note values and time signature of the introduction to align better with the tempo marking. I will definitely be exploring ways to make the closing of the exposition more interesting as I feel aspects of this are somewhat formulaic/uninspired; and I will also shake the recapitulation up. PS - I also make some minor improvements to the voice leading in several areas since the original upload. Thanks again, MASON!

@UncleRed99 OK, thanks – that’s an understandable reaction.

Honestly, on a personal opinion, I don't find this style rather enjoyable to listen to, however, I will say, it reminds me of the old Tom & Jerry, Looney Toons / WB Cartoon play along tracks that would interact with the characters on screen as the show played 😅 Anyway... There are moments where my ear is enjoying the music, while there are many other moments where I wonder what the point of the development is, what purpose the dissonance serves, and what story is being told by the composition... I find myself lost while listening to this, and unfortunately, not in the best way, I'm afraid. However, moments of harmony that are done very well, for example, would be the opening chord, just to name one. Those sort of textures, when put in the right places, are very lovely :) - Unc

You're welcome @JorgeDavid. I am planning to do my reviews in that manner. I am thinking it will be more helpful that way.

@JorgeDavid So something like this...? (Screen recording converted to MP3 of b.26 - b.49) Recording 2026-06-22 153224.mp3

Hello everyone, My co-founder and I have spent the past while building Ivory (https://ivory-app.com), a tool for converting piano recordings into editable notation, and I wanted to introduce it here because this community is exactly who we built it for: people who compose at the keyboard. The problem we set out to address is a practical one. Composers who work at the piano routinely capture ideas as audio , a phone recording, a quick DAW take , and then face the slow task of transcribing their own playing by ear before they can develop the material. Manual transcription of dense voicings, fast passagework, or pedalled textures can take longer than writing the piece itself. Ivory is built specifically for that step. What it does Converts a piano recording (MP3 or similar) into notation in the browser : nothing to install. Uses a model trained specifically for piano, rather than a general-purpose audio-to-MIDI converter. Produces editable output, exportable to MusicXML (Sibelius, MuseScore, Dorico), MIDI (any DAW), and PDF. The intended workflow: record an idea, transcribe it in Ivory, then export to your notation software or DAW and compose from a working draft rather than a blank page. Why we focused on piano Piano is one of the harder instruments to transcribe automatically: overlapping voices, sustain pedal blurring note boundaries, fast runs, and up to ten simultaneous notes. General-purpose tools tend to struggle with exactly these cases. By narrowing the scope to piano, we handle chords, fast runs, and pedalling considerably better than the broader tools we benchmarked against. Honest limitations Piano-focused , not intended for full multi-instrument or orchestral arrangements. The output is a first draft; expect to correct some rhythms, re-bar passages, and make voicing/enharmonic decisions yourself. Free tier is capped at one minute of audio per transcription (unlimited number of transcriptions) , enough to evaluate properly on real material. We would genuinely value feedback from composers here, both on transcription quality and on how it fits your existing notation workflow. Happy to answer questions in this thread.

The notes are the same for M-I-C-K-E-Y lol!

This is a project I have slowly worked on for about a year. Thoughts/comments/criticisms welcome. Edit: I have cleaned the scores up a lot. Prelude No 1.mp3Prelude No 2.mp3Prelude No 3.mp3Prelude No 4.mp3Prelude No 5.mp3Prelude No 6.mp3Prelude No 7.mp3Prelude No 8.mp3Prelude No 9.mp3Prelude No 10.mp3 Prelude No. 1.pdf Prelude No. 2.pdf Prelude No. 3.pdf Prelude No. 4.pdf Prelude No. 5.pdf Prelude No. 6.pdf Prelude No. 7.pdf Prelude No. 8.pdf Prelude No. 9.pdf Prelude No. 10.pdf

A few days ago, I wrote a very short piano work for my brother's birthday, which is not something I normally do. I realised early on in the week that I had not yet got him anything and decided to write and put together a music video in one day, as one does. Of course, I paired it with some colourful lyrics to express my utmost brotherly love and affection for him (translation: extol his persistently annoying behaviour and call out embarrassing moments in his life). To my surprise, he did enjoy it more than I thought he would, so that was a success! I've removed the lyrics for seriousness' sake in the PDF, but I hope you'll find something of interest in here. As usual, I am also always looking for feedback and ways to keep chipping away at my pieces even after I've written them. Are the two main themes different enough in character? Does the form feel awkward or bloated? Anything else of concern or note? One thing I will admit is that I probably should not have notated swing entirely with triplets, so that's something I've started to fix up at the moment... Promenade (2026).mp3 Promenade (2026).pdf

A very, very beautiful piece. With a touch of Baroque or galant inspiration, I’d say. It’s brilliant that, with relative simplicity and just a few instruments, you’ve created such a dreamy and nostalgic atmosphere.

Hi everyone, I'm new to this group and am excited to have found the community. I recently began writing original music for concert band. What feedback do you have for me regrading the piece below. My primary goal in writing March of the Fire Brigade is to learn and get better. My students may end up playing it this next school year as well. Thanks for any critiques you can give me! March of the Fire Brigade

And now you know!

21st: The Most Innovative Composers In the 21st century, music has become remarkably fragmented compared to previous eras. Yet, as in every age, there are composers who stand out as groundbreaking. Who do you consider the innovative composers of the 21st century? Here are my examples. 1 - Richard D James I consider him to be the greatest composer of the 21st century. His innovativeness has evolved with the times, influencing Mike Paradinas, Tom Jenkinson, Thom Yorke, Björk, and countless others. What deserves particular mention is his use of high-speed, computer-generated rhythms alongside a consistent body of work. From Syro (especially XMAS_EVET10) to Drukqs, and across aliases including AFX and Polygon Window, each release is characterized by detailed sound texture construction. This level of craft places him apart from most contemporary composers. His process of immersion in sound itself appears central to the results. (Related: Tom Jenkinson. Not confined to bass or jazz, he deploys rhythms to develop a distinct style, as heard in his recent Kammerkonzert.) 2 - Georg Friedrich Haas While I am not someone who can analyze and discuss music in a strictly technical sense, starting with In Vain and continuing through subsequent works, there is a distinct originality in how he incorporates conceptual elements — including performance in complete darkness. His style differs from Ligeti's, but the logic of his ideas and his ability to realize them compositionally are notable. 3 - Michael League As producer, leader, and bassist of Snarky Puppy, his compositional work merits attention. He may not belong to the category of historically canonical composers, but tracks such as Somni and The Curtain represent a high level of cross-genre craft. His solo work occupies a distinct space, making use of jazz harmony and a particular tonal quality that is difficult to classify. 4 - Ludwig Göransson Active primarily in film scoring, his work shows consistent originality. Black Panther stands out within his output: rather than simply placing African music within an orchestral, his use of sound reverberation and electronic tones within individual tracks represents a specific compositional decision worth examining. His trajectory outside of film scoring remains an open question. 5 - Ambrose Akinmusire Beyond his work as a trumpet player, his compositional approach is notable for the integration of classical strings and explicit social content. The string writing contributes to a fluid quality in the compositions, and certain rhythmic passages — in combination with the drum writing — share something with Hania Rani's approach. He stands as one of the more genuinely contemporary voices currently active. (These are just my current opinion.) What do you think? Who do you consider to be innovative composers?

Thanks for the positive feedback! Where specifically did you see I used parallel 5ths? It would help me to go back & relook at them. I composed this before I even knew what a tonic was😂

Cloudburst 9 was one of my 3 attempts at a high energy, big jazz band work I wrote in 2007. I played keys in high school and college jazz band. But could I reproduce a 70s big jazz band like Buddy Rich, Maynard Ferguson, etc in my Cakewalk DAW? I decided to gave it a try. My track in 2007 was ok but the drums lacked sophistication. So I opened up the folder and discovered I had audio file tracks without drums. The instrument wav files sounded amazing still. Which I was surprised. Drums now remixed with variation and punch. The trombone and trumpet leads are from the same synth brass from my Roland keyboard. It sounded very much like a trombone and trumpet, but it's a synth patch. One of my fav sections is the final trombone solo where the rhythm section energy picks up a notch. Also I have a favorite minor chord in the work. Maybe you'll notice it. Music and virtual instruments composed and performed by me, no AI . Not really a jazz genre, more like show tune maybe, and fusion. I know the mix can be much improved, but I'm not going to remake all instruments right now. Maybe later. DAW: Cakewalk Sonar 7(in 2007) and remixed with current Cakewalk Sonar All Instruments: Roland Fantom, with added vsti DSK Brass for the sax section Effects - Sunset Live Room, and a touch of spring reverb

I enjoyed this too. Has the Chattanooga vibe 100 percent! It's less than 3 minutes and doesn't need a fancy development. Once you get to 4 minutes + maybe add a sax solo or something over a verse. I wrote a few big jazz band pieces as well, in 70's style. Check out my Cloudburst 9. Hope you post something again!

The program does the heavy lifting by itself. However, you should check over what you write. "Behind Bars" is what everyone using these days. Stone's "Music notation in the 20 century" comes is second. Stone is about modern notation conventions. Behind Bars is about the standards. Both are useful. I would use Behind Bars make sure my score meets standards. Then if there are modern convetitions i might use stone's. Or score study. (score study is the best.)

Sympfonija nr1 2 mov.mp3Simpfonija nr 1 jud 2.pdfHere is my symphony

helloooo "The Voyage of a Lone Ship" is a piece for mixed quintet (violin, cello, horn, timpani, and piano). it is based on a sketch from the website youraislopbores.me*. i've asked a random person to draw a landscape for me to base my composition on and what i got is this sketch of a lone ship sailing on the sea under a starry night. the piece contains many different aspects that i try to portray: the lone night voyage, the shimmering star, the creaking wooden ship, the wavy sea, the exciting morning conundrum, and the night fall once more. *of note, youraislopbores.me is a website where real people can roleplay as an ai and answer/draw prompts from humans. people can also be the role of the humans and give the "ai(s)" (people who's roleplaying as ai(s)) many kinds of prompts. therefore, this artwork is not made by ai. a real anonymous person sketched my prompt and created the artwork below. this website is an act against ai art in general. im going to be honest, composing this piece was a tough journey. i had to rewrote the early sections so many times and my motivation keeps dwindling down day by day to finish this, but ive pulled through!!! i'd say there are many things that i'm not entirely satisfied with the piece, but it's in a good enough condition for me to post. also mightve gone overboard with the duration, oh well lmao enjoy the piece guysss The Voyage of a Lone Ship.mp3 The Voyage of A Lone Ship.pdf

Here are my overall thoughts about this competition: Overall, the competition was competition went well. I think new members might find the three-month time limit a challenge. However, seasoned members, with the flow. It allows entries to submitted and to be scored fairly. For the spring competition, I was a judge! There was one entry that stand out! Sadly, it was scored very low. For now, the competition should be for fun. and open to all. But I do not want to anyone to bummed out if they score low. So maybe new members should encourage from seasoned to join after they have a couple works? (just a thought).

Oh, you will reach the point where you don't even need to think of analysis anymore. Use the accidentals that are easiest; even if the music is complicated, make it as easy to read as possible.

This is very awesome to hear! Apologies for not conversing in French, as I’m sure it’d be more comfortable for you. It is my opinion that the idea of a musical is no where to be found in the sample you provided. I think it both safer and easier if you work your way up to it instead. If you have not written for solo instruments or chamber/ small ensembles, then trying to take the complexity of a musical, ballet, or opera is not going to benefit you. It’s similar to this metaphor: If a child just learned to write and comes to you to say, “I want to write a research paper!” You might say “that’s a good goal, but you need to do these steps first.” Those who’ve just taken to a skill and are now striving to do the complex works in that genre will give you great challenge. Regardless of the actual notes on the page in this post, consider starting small and writing simpler works. Simpler works that focus on your use of harmony and melody. Something to do that is exercising your skill without having the brain challenge of a large ensemble. Most western musicals will only have 6-15 musicians in local communities and more often than not, it may be one or two brass players switching instruments. So, try writing a brass trio with Bass-Trombone, French Horn and Trumpet. That way you can expand different octaves and still be in territory you know as a brass player.

I wrote another Romance for my girlfriend Julia's birthday. I hope you enjoy and let me know what you think! Romance No. 2.mp3 Romance No. 2.pdf

Good afternoon everyone! I'm fairly new to the forum, so I thought I would share something I wrote to introduce myself. I wrote this piece last year and finished around November, but just now decided to make a score so I could share it with you all. I'm interested in any and all feedback, as long as it's constructive. It is a rather long piece, so I included an outline if you would like to listen in "chunks". I used what you might call an "abbreviated sonata form": There is an Introduction, an Exposition stating two themes, an abbreviated Recapitulation of both themes, and a Resolution. (i.e. there is no development section) The outline is as follows: Introduction (0:00 - 5:13) Ominous opening, built around an ostinato figure (0:00 - 2:13) Lyrical theme (2:13 - 4:17) Return of ostinato figure, transition to exposition (4:17 - 5:13) A Theme of Exposition, somewhat manic and bombastic (5:13 - 7:09) B Theme of Exposition, pastoral yet deeply emotional (7:09 - 10:42) Brief transition to Recap of Exposition (10:42 - 11:21) Recap of A Theme, abbreviated (11:21 - 12:48) Recap of B Theme, abbreviated (12:48 - 15:07) Brief transition to Resolution (15:07 - 15:48) Resolution/Coda (15:48 - 19:21) As you listen, there are a few specific things I would be interested in your impression of: What is your favorite part? What is your least favorite part? While I have included a score and would certainly appreciate feedback on its appearance, I'm mostly concerned with feedback on technique, structure, orchestration, etc. How do you feel about the overall form? Does it work well? I am a former brass player, and know relatively little about string playing. Is my string writing convincing? What could be improved? What overall effect does the piece have on you? Does it create a certain image? Does it bring out a certain feeling? Anything else that jumps out at you. While I'm mostly happy with the way this piece turned out, there is certainly room for improvement. There are a lot of things I really like about it, but if I'm being real honest with myself I think the overall form falls a little flat, due to the lack of a development section. I dunno, maybe I'm too hard on myself, what do you guys think? Thanks for listening, and I hope you enjoy! If you have any questions about anything I did, feel free to ask and I will explain to the best of my ability. gmm New Piece for Orchestra.pdfNew Piece for Orchestra.mp3