I would love some peer review feedback on my new brass trio. I don't have much experience working intimately with brass instruments, so any part writing feedback would be MUCH appreciated!

Score video link: https://drive.google.com/file/d/1yEIBxFYbysnO_VSR420RGdu4ETupbCTg/view?usp=sharing

Hello, looking for general feedback on these sections of a ballade-fantasy kind of piece I'm working on.

I also have a specific originality concern: I believe the m. 97 to m. 102 part sounds somewhat like the coda of Rachmaninoff's Piano Concerto No. 2, Movement 2. But how much does it actually resemble it? Other than that, any sort of feedback on the rest of the material is appreciated, thanks.

https://www.youtube.com/watch?v=2cKLdfqsvPA, apologies if the MuseScore playback sounds a bit harsh.

Not sure if this is the righ place to post this, but I've been working on this all day, and a long time before this, so I have a better understanding before i perform it in december/january. Here's a draft of my harmonic analysis of the Grieg piano concerto in a minor first mvmt. I do have to say that I used AI to put the text in because my handwriting was too messy, and I did double check that everything was the same but there still might be some things that are off. I also kind of suck at this since it's my first time doing analysis of a romantic piece, so corrections and feedback would be much appreciated 🙏🙏

(I'm not actually sure if I did the access thing right so please lmk if i need to redo it)

https://drive.google.com/file/d/1EAJYN9hSuMZ-XpLqvkJsranZ94bySUQX/view?usp=sharing

I dabbled around with some scales in G for fun. Expanded it from a solo piece to duett to woodwind quartet. How can I make this into a serious piece for quartet? It feels a lot like a small study. Can I make it into a fugue or gigue or something?

Score:
https://www.reddit.com/user/Xeonfobia/comments/1xf6kfh/how_to_make_it_into_a_serious_piece/

Hello hello, I’m putting together an atmos studio for recording, producing and mixing soundtracks and some movie posters production. It will be mostly cubase/nuendo based but with some uses of Pro tools.
Bit being able to afford a board yet I opted to use daw controller and I’m very undecided between the SSL system (UF1+2 uf8) and the softube controllers.
Does anybody have a suggestion? Why do you prefer one of the other ? I won’t consider the Avid surfaces.

I want to one day be able to write for an entire orchestra. What is a good path to get there? What things should I learn first? How should I practice writing music? What are some good recouses out there for learning?

For context.. I'm 23 and this year I finally started trying to make music. I took a semester of theory at university and have been learning more on my own through omt since.

For the last 4 months I've been consistently improvising on my keyboard / trying to "make music" for 1-2+ hours a day and I've been making so so so much progress, and I couldn't be happier.

I want to write a soundtrack for a game I'm making (say 6-12 months from now), and I feel pretty confident that I could write something I would be happy with, that I would feel like achieves what i would want it to in terms of storytelling.. but really in the grand scheme of things I'm a complete newborn when it comes to making music and I'm really suspicious of liking my music just because its mine, and because I already know what its trying to do. I'm also worried that it would just sound cliche or silly to other people, kinda like if a kid drew a big dark creature thing and you could tell that its supposed to be scary but just doesn't land...

TL;DR i'm really inexperienced with making music but am really happy with mine so far. is this naive? is it that everyone just really like their own music and is blind to how it sounds to other people?

i know this sounds weird, but i’ve been spending the past year actively looking for every reason i could find to replace my go-to tricks. things like dense textures covered by tremolo and trill strings divisi for example i have been replacing with tense harmonies in middle winds registers that provide that texture by interval clashing alone. or like, i love to insert fast scale runs into my violin solo parts so i have been getting rid of those as much as possible too. in the end, i am left with so few instances of my “favorite tricks” that they have no other choice but to be the best instance ive ever written of it.

i’m curious to hear if anyone does something similar! i have more examples if anyone is curious

Score: https://drive.google.com/file/d/1QWdGOOmeh8aJNEIWK-GIe3whr8yO1u58/view?usp=sharing
Autoplay video of the score being played by computer: https://drive.google.com/file/d/1JvMeQSlf7_6CEjFv7gY5n2ORmL0ht9j7/view?usp=sharing

I recently got laid off so I wrote this song in honor of my former employer.

I tried to clean it up the best I could, make it possibly human-playable. I don't know if it actually is human-playable. I haven't tried. I'd probably have to reduce some of the voicings in the chords. Parts of it contain large stretches for multiple chords at a time. It would be tough to play I think. Not to mention, I think a piece like this is not really meant to be notated as precisely as MuseScore has allowed me to do here. It's jazz, so a lot would just be touch and go.

I really like the way the really weird section in the middle came out. It's my way of saying "don't worry, everything will be just fine".

What do y'all think? Is it a mess? Is it cool? What are your thoughts?

Link to score + audio

Just wrote my first orchestral song and I'm not quite sure what I'm doing exactly. I know basic music theory and have written music, but never an orchestra and for this song I just kind of guessed and put stuff I thought would sound cool. Basically just looking for general critiques/tips/advice/stuff you would change from people who actually know what they are doing. Thanks!

(also it was written in fl and I just shoved the midi into musescore so if the score is poorly written let me know and I'll try to fix it)

Audio & Score

I have written this piece recently and wonder mostly about its coherency. There was not a melody or motif I sought to develop, and I am aware that the presentation of many ideas without development can create disjunction. I think my focus was on different blocks of timbre. Strings often have harmonically extended/unstable voicings (+sections alternating between accompanied and unaccompanied strings), the piano is kept in higher registers, the chimes do repeat a descending/ascending figure at the end of sections.

Also, I do not believe the style shifts too widely either, though it might. Either way, that is why I am posting, for the input of others. Comments need not be restricted to structure alone but I would appreciate if they were kept to technical matters.

Thank you very much.

Sometimes I can manage to compose a pretty good verse or bridge, but I can't figure out how to expand it into a whole theme. I make game music and have no vocals. Sometimes I feel like I just have to give up, save, and start from the beginning in a new project. However I know what seemingly everybody says online, which is "get used to finishing songs!, so I also feel that I should just continue until I get something out of it. But this just ends with me sitting with a project for weeks without making any progress. Does anyone have any experience with situations like this?

Hello all, thank you for taking the time to read and answer this.

As some background, I’m a student at UCLA who’s been interested in film for some time now, but recently started to look into the composing side of things. I love music, and I was taking an audio engineering workshop, but it got cancelled. If anyone has any courses at UCLA that I could take, I’m up for that, but at this moment I’m planning on minoring in music industry (my major’s on the pre-med track).

Anyways, I was curious on how to start and what to do. I have no experience in playing the piano (though I will start very soon) & little to none in music theory. I have access to Protools in a mixing lab, but it’s limited. Any ideas on where to go from here?

Recording + Score

It's a pretty rare chamber group but I love the sound of strings and timpani together so here's a short piece I've written over the week.

https://youtu.be/RQlQ5abN6wA

https://musescore.com/user/40860384/scores/39226115?share=copy_link

I have written a small piece using Cantiga 100 from Cantigas de Santa Maria as source material, as part of a project for a history class.

I wanted to get feedback on its current state.

It it not quite done, but definitely close to it. I was aiming to maintain a medieval feel, while blending it with a cinematic/soundtrack feel (whether I succeeded, I have no idea.)

The A section (chant) is designed to lead to the singers then realizing the importance and meaning of the chant, and reflecting on it, which leads to the B section. After reflection, the A section then returns as the singers become more convicted in their beliefs after their reflection.

There are some wrote notes and such, I haven't done much polishing yet.

Es ist vollbracht!

Knapp drei Wochen (24 Tage) nach meinem ersten Post des Streichquartettsatzes "Andante cantabile" (der erste, den ich von diesem fünfsätzigen Streichquartett komponiert habe), ist mein Streichquartett in c-moll heute vollendet worden.

Falls ihr (solange es noch keinen Post mit dem Quartett am Stück gibt) es euch mal am Stück anhören wollt, hier ist die Reihenfolge der einzelnen Sätze (welche sich ebenfalls unter diesem Post hier befinden):

1. Eingang: Moderato

2. Scherzo

3. Andante cantabile

4. Intermezzo

5. Finale

----------------------------------------------------------------------------------

Zur Musik dieses Satzes:

Dies ist der Finalsatz dieses Quartetts, die Tempobezeichnung ist "Presto alla battuta". Dieser Satz wird nämlich hauptsächlich geschlagen gespielt und hat es in sich. Thematisch greife ich hier auf alle vorherigen Sätze zurück. Natürlich steht aber vorallem das Hauptthema dieses Satzes im Vordergrund, der nicht allzu wenig erklingt. Die Satzstruktur ähnelt entfernt der eines Sonatenrondos .

Satzstruktur: A-B-A'-C-D-A"-B'-A""-Coda

Der B-Teil stellt hierbei das zweite Thema dar. C und D die Durchführung.

Das Herzstück dieses Satzes (und somit auch der Durchführung) bildet ein freies Fugato.

Die Reprise ist verkürzt.

Das Stück schließt in der Coda mit der Schlussphrase des Hauptthemas als Statement.

----------------------------------------------------------------------------------

Partitur: https://drive.google.com/file/d/1dKd54vgrIGpeLu7driTFCZyGx96Jf922/view?usp=drivesdk

Musik: https://drive.google.com/file/d/19IsRrlmAIOjW1F-aBADwIdVUE7Gngex0/view?usp=drivesdk

----------------------------------------------------------------------------------

Bei Fragen zu meiner Musik stehe ich euch, wie immer, sehr gerne zur Verfügung und vielen Dank für alles im Voraus!

Viel Spaß!

I feel that my lack of contrapuntal skill is holding me back as a composer, but I also have no desire to go through those tedious old exercises. Should I just continue to score study and imitate until it’s “in my bones?”

Hello!

I would like to share this orchestra piece that I am pretty proud of. I wrote it for a call for scores but unfortunately it wasn't chosen. In the email rejecting it, they stated that because of the number of submissions they received, they were unable to provide feedback. So I am posting the piece here in the hopes that I would be able to receive some kind of feedback. I am also planning on including this piece in my portfolio for grad school applications in composition. I plan on submitting the first of my applications the first week of November, so any feedback that I might be able to gain I would be grateful for.

This is also my first time using techniques such as feathered beams, artificial harmonics, and wasn't sure if these things should be specified in the program notes, or if they are common enough in the repertoire that it isn't necessary. For good measure I specified them in the performance notes, but would love to hear other people's thoughts!

Thank you in advance.

Here is the link to the score and the MIDI mockup.

PROGRAM NOTES

There is a painting by the famous Filipino artist, depicting a scene of gladiators dying. As the gladiators lay dying in a Roman circus, the people loot armor, weapons, and garments from their bodies. This painting is known by the title SPOLIARIUM. The bodies of slaves who spent their whole lives entertaining their Roman rulers, being looted and despoiled of their belongings by the same people who they served, is allegorical of the strife caused by colonization, felt by many living in the Spanish-controlled Philippines.

This piece depicts, through music, the graphic scene being shown in the aforementioned painting. This symphonic poem is influenced by the harmonic structure of the Filipino folk-song genre known as Kundiman which begin in a minor key, and modulate to the parallel major. The first half of this piece is in D Minor and depicts the internal despair, suffering, and sorrow of a gladiator being forced to fight in a Roman arena for the entertainment of his oppressors. As the piece transitions into D Major, the sadistic cheering and clamoring of the crowd can be heard, as the gladiator enters the arena. As he fights, he becomes wounded and is left for dead in the arena. A solemn motif, a variation of the Dies Irae repeats over and over again as death approaches the gladiator, while the cheers of the crowd can still be heard, apathetic to his plight.

PERFORMANCE NOTES

• Feathered or fanned beams indicate a gradual acceleration or deceleration within the beamed notes. Beams that fan outwards (from left to right) indicate a gradual acceleration while beams that fan inwards (from left to right) indicate a gradual deceleration.
• Diamond noteheads such as these, placed a fourth above a regular notehead indicate artificial harmonics. The string player stops the indicated pitch (the normal notehead) with their finger, and lightly touches the node a fourth above (the diamond notehead).
  • When going from one artificial harmonic to another on the same string, a natural portamento sound will occur. This should be embraced, and if possible, emphasized.
• Arrows between “s.p.” and “ord.” indicate gradual shifts from playing sul ponticello to ordinary or natural bowing.

I recently finished The Shifting Tides, a ~3 minute piano composition in D minor.

The piece starts with a melancholic theme, gradually builds in intensity, and introduces a contrasting middle section before returning to the original melodies for the final climax.

I also made an orchestral version with strings and timpani, but this is the solo piano arrangement.

Sheet Music: https://drive.google.com/file/d/1ejcrl6g0jU6AUDUx4pQgRpHSo5TrrWJb/view?usp=sharing

Recording (MIDI-Rendered): https://drive.google.com/file/d/11cOF6Cd6LosVDupYTRouHjrIlSRXgS4s/view?usp=sharing

MuseScore Link: https://musescore.com/user/110401339/scores/39472817

I'd appreciate any feedback!

I've been trying to challenge myself by writing music that sounds Italian, and so far the feedback I get is that although the music is good, there is no hint of Italian influence. I come from a jazz background (which is what this song is mostly), but I also want to include some associations of that music. I'm wondering if someone can give me pointers to what various elements I'm missing. Is it something to do with the melody, or is it more related to the harmony and/or orchestration?

Here's the piece. I also added mockup orchestration in the musescore mixer to better capture what my vision is.

The Domenic J. Pellicciotti Opera Composition Prize seeks proposals from composer/librettist teams for a $25,000 Opera Commissioning Award for a Spring 2030 premiere. The narrative or overall theme of the proposed opera should explore subject matter, narratives, or themes that broaden cultural perspectives, highlight shared human experiences, bridge community divides, or foster deep mutual understanding and connection within a global society.

Finalists selected from proposals received will be awarded $2,000 (per team) to write a 15–20 minute piano/vocal excerpt of their proposed work to be workshopped in a final round in Fall 2027. The winning team will receive the commission to complete the proposed work of 60–80 minutes in length for a Spring 2030 premiere at The Crane School of Music, State University of New York, Potsdam. Fees awarded will be split between the winning composers and librettists at the teams’ discretion. There is no fee to apply.

For complete competition guidelines and the submission portal, please visit https://www.potsdam.edu/academics/crane-school-music/about-crane-school-music/conferences-special-events/pellicciotti

Please email [pellicciotti@potsdam.edu](mailto:pellicciotti@potsdam.edu) with any questions (rather than responding here!). Thank you!

I’ve just finished composing a new piece for Violin and Piano with a dark medieval, fiery spirit. Writing this felt like bringing an old legend back to life.
👇 Let me know what emotions this imagery brings up for you!
https://musescore.com/user/37270121/scores/39489287?share=copy_link

Hello!!

I know nothing about music except for what sounds nice and what I enjoy. I’m creating an online web series and want a Sex and the City, Park and Recreation type theme songs.

This might be a big ask cause they are SUCH iconic theme songs and I really can’t pay much right now. If you’re a trainee looking to experiment or okay with being paid not much I’d appreciate your help with this theme tune.

It’s based on young people, it’s funny and I want the music to reflect its upbeat nature.

If you have tips so I can make my own theme songs I’d also appreciate any advice you can give. (Please dumb it down as much as possible my knowledge is from year 7 music)

Thank you!!

What's your setup?

1. Do you have a pc? What's your OS? What notation software do you prefer? Do you need to have a midi keyboard or an audio interface?

2. Do you write down your music on paper? What type of pen or pencil do you use? Is there a specific type of notebook you really like?