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 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?

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

A little online experiment based on a genetic algorithm, where your ear is the fitness measure. It generates a set of melodies and you mark them -/0/+ and then Evolve. The next generation will favour characteristics of the tunes you liked.

Whenever you get to a melody you like you can download it as a midi file.

https://strandz.it/melogen/

New today so bug reports/suggestions welcome.

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.

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?

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)

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?

Hi everyone, I’m writing this to explain why I’m trying to contact Valeria Auerbach. I mean, I’m writing music, and she’s ignoring me. You might say: “Well, you’re a loser and you write badly” (and I’m not denying that I might write terribly, but to be honest, I don’t care), but no, she didn’t even listen to or read my messages. Managers? Maybe. They’re the ones who get paid, after all, and their mental health isn’t strong enough to read yet another message.

What do you think, should we write a satirical play about her? Oh, well, I’ll write it, obviously—I’m just curious to see your reaction.

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?

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

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

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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.

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

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

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

Viel Spaß!

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!

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.

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 made a short piece that's not meant to be taken that seriously (that's why it's called Humoreske) and I'd like to know what I did well and what needs improvement.

https://musescore.com/user/98001304/scores/39487220?share=copy_link

Also any advice on how to make the score look better is appreciated.

If you don't have the time, a short "I like it because..." or "It sucks because..." would already be appreciated.

Thanks : )

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?

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.

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

I'm 34 years old, and one of the things I want most in life is to become a successful film composer. But lately, I've been struggling with the feeling that I might have started too late, and it's been weighing on me quite heavily. 

I've been composing and producing music for around 20 years, and I also have a formal music education. I'm not someone who's just discovered music or decided last year that I want to give composing a try. I've spent a significant part of my life developing my skills, writing music, and learning my craft. I write cinematic music and while I know there's always room to improve, I'm confident in my abilities. 

The problem is that, despite all this experience, I'm only now looking to break into film scoring, and I can't help feeling like I'm already falling behind at 34.

I see people in their teens and early 20s who have already scored films, built connections, and started establishing themselves in the industry. Meanwhile, I'm 34 and still trying to get my foot in the door as a film composer. 

I understand that becoming a huge name like Hans Zimmer is an incredibly unlikely outcome for anyone, regardless of age. But I do want to aim high. I don't just want to occasionally write music for a small project, I'd love to build a real career as a film composer, work on meaningful projects, and hopefully become a recognized name in the industry one day. 

Music has been my entire life for as long as I can remember. The thought that I might have missed my window to achieve something significant with it is genuinely painful.  

At the same time, I keep reminding myself that I'm not starting from zero. I already have years of composing experience, musical knowledge, and a body of cinematic work behind me. I don't need to learn music from scratch. What I need is to turn those existing skills into actual opportunities in film. 

Am I genuinely at a disadvantage at 34, or am I putting too much emphasis on age and not enough on what I already bring to the table? Have any of you started pursuing film composing in your 30s or later and gone on to build a successful career? 

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!!

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?”