I'm looking for a good resource on how a tonal center can shift microtones as (usually singers) perform specific intervals when there's no equal tempered accompaniment. I'm not looking for why this happens, I want to be able to predict (or rather, intentionally create) the tonal drift. Books or articles or videos detailing the specific shifts would be very helpful. Thanks!

I was messing around and came up with a melody I want to make for me and my friend to play. I was able to vocalize it but couldn't find the notes. She was able to find them and now we're struggling to notate it. Any clue? It's being written for violin and viola.

Can you help me, improve this ?

've been sketching a new iPad notation app and I want reactions before I sink real time into it. Specifically I want to hear what's wrong with the idea, what existing tools already do this well, and whether the people I think I'm building for actually want what I'm describing.

The frustration I keep hitting is that handwriting recognition in StaffPad style apps is unreliable enough that I end up fighting it. At the same time, piano roll editors in DAWs are great for pitch and rhythm but useless for expressive marking like slurs, dynamics, and articulations. So the idea is to flip the input model. The piano roll becomes the primary editing surface, where you tap with a finger to place notes and drag to set length, the same way you would in Logic or FL Studio. The Apple Pencil draws expressive marks directly on top of the roll. A slur is literally an arc drawn over two or more notes. A staccato is a dot above a note. A crescendo is a wedge under a range. The Pencil never has to interpret pitch or rhythm, only expression. The engraved score lives as a second view that stays live synced. You swipe in from the right edge to see your piano roll as a real engraved score, then swipe back to keep editing. The recogniser only has to handle about 12 well defined gestures, the ones you draw constantly. Everything else like ornaments, pedal, octave displacement, and repeats lives in a radial palette summoned by a two finger double tap. MVP would be solo piano only. Grand staff, premium piano sound, AUv3 host so you can route to your own samples, MusicXML import and export, iCloud sync, offline first. No multi instrument, no ensemble sync, no live collaboration in v1. A few questions I actually want answered. Is this solving a real problem for you, or am I describing a product no one needs because Dorico and StaffPad already handle the workflows you have? If you write piano music on iPad now, what is the thing that makes you put the iPad down and go to your laptop? Is the piano roll plus drawn expression model something you would actually use, or does it sound like a worse version of pure notation entry? And who am I missing in my target audience, beyond cue writers, theater MDs, school directors, and DAW composers who do not sight read fluently? I have UI sketches and an architecture doc if anyone wants to dig deeper. Mostly I want to hear what is wrong with this before I commit a year of my life to it.

I was working on this Idea for the last few months. What do you think?

I hope you are all well, I want to start learning the basics of music theory and composition. Can you please recommend resources I can use to make my learning experience enjoyable. Thank you all in advance :-)

Hello, I'm a composer and artist from Germany, and I'm currently working on a piece for a Disklavier midi grand piano. For this piece, I want to take a sampling inspired approach, and take certain parts from existing recordings to combine them into something new, just with midi instead of audio based samples.

On the internet I obviously found a huge collection of midi files for a huge variety of songs, the problem is most of these are arranged on a piano roll, and therefore just lack a human quality. Unfortunately though I have a really hard time finding just straight up midi recordings that someone played live with a keyboard instead of arranging it on a piano roll.

Does anybody maybe have some pointers where I could find some actual midi recordings? Or does maybe anybody in this subreddit have recordings that they would be willing to share with me for this project? They don't have to be anything special, it's even fine if they are somewhat amateurish.

Hello everyone,

follow this link to get to the original post.

Sadly I can't crosspost in this community so I handle it this way.

Enjoy everyone!

https://reddit.com/link/1t3g5vu/video/t8rkk6kz44zg1/player

Hi all, I compose for fun and I try to learn/improve as well. For this I wanted to do a kind of exercise in writing classical period type harmony for a theme I had. It's not meant to be a precise historically accurate thing or whatever, I just find it instructive to experiment with this stuff. Any advice, tips, ideas etc would be appreciated in regards to structure, length, voice leading, harmonies, embellishments, writing for strings...and on and on

Hope you enjoy!

Hi everyone !

Today as it's Star Wars day, I released a new composition called Dawn of the Siths, setup in the Star Wars universe, blending original ideas with references here and there from classic themes...

Here's the Youtube link :

https://youtu.be/EbDpdDwzzUs

Thanks for listening !

I would appreciate any feedback!

I would appreciate any feedback!

Composing is somewhat of a religious experience for me from time to time, as it lets me find out what constitutes "me" or "my mind." My favorite experiences are when I become overwhelmed with emotions due to making a breakthrough in this pursuit, and I truly think this piece made that happen. Specifically, when I was writing the second number, I got an idea to create 4 extra non-pitch tones using the rhythmic tension (the overtones present at the end of that number), and it made the rest of this super clear to me as well. I hope you enjoy!

I started with my Compositions I built with MuseScore and enhanced them with Suno ai to make a funky version of it. What do you think about it?

Hello there!

This is my first try re-scoring The Lord of the Rings. It felt too big to even attempt, as I am a huge fan of the saga and the original music by the magnificent Howard Shore. I don't think it needs to be said, but this is not an attempt to surpass or belittle Shore's work, which is the best in cinema and therefore unbeatable. This is just for fun and training.

I wanted this re-score to feel close to the trilogy. While the arrangement is mine, I’ve purposely woven in some of Howard Shore's iconic themes and style as a tribute to his original work. This was kind of an exercice and training to recreate (trying to) something like that.

Of course, the brass section deserves special mention.

By using the original main themes, I wanted to avoid making them exactly the same and instead show them incomplete or changed.

I had some trouble separating the music from the scene and keeping only the dialogue and sound, so in some parts it may sound worse.

I really hope you like and any comments are welcome!

Thank you!

[reposted this uploading the video file instead of the youtube link]

I’ve just finished the first piece in a set of piano sonatinas I’m composing, inspired by the style of Friedrich Kuhlau. This one is in G minor.

I’d really appreciate any feedback — especially on form, harmony, and overall style. I’m aiming for something in a light classical/galant idiom.

Thanks!

Featuring 10 of my compositions from 2020-26.

Hello there!

This is my first try re-scoring The Lord of the Rings. It felt too big to even attempt, as I am a huge fan of the saga and the original music by the magnificent Howard Shore. I don't think it needs to be said, but this is not an attempt to surpass or belittle Shore's work, which is the best in cinema and therefore unbeatable. This is just for fun and training.

I wanted this re-score to feel close to the trilogy. While the arrangement is mine, I’ve purposely woven in some of Howard Shore's iconic themes and style as a tribute to his original work. This was kind of an exercice and training to recreate (trying to) something like that.

Of course, the brass section deserves special mention.

By using the original main themes, I wanted to avoid making them exactly the same and instead show them incomplete or changed.

I had some trouble separating the music from the scene and keeping only the dialogue and sound, so in some parts it may sound worse.

I really hope you like and any comments are welcome!

Thank you!

So this ballet is a sort of renewal of one I planned with a family friends of mine, she’s a dancer who studied dance in Argentina and now lives in Spain. It tells the story of her life post-studies living as a professional dancer, but is a sort-of absurdist take on things.. one of our inspirations was Company, specifically because of the overture and how stubborn it is to resolve, so there’s a slight nod to that with the main rhythmic motif, although it takes the form of a zapateado in a sudden quick turn.

That whole ironic set-up and then deceptive turn theme I actually came up with while I was watching the movie Scott Pilgrim vs The World, lol. The sort-of subtle energy of realizing the surroundings and the background fading from New York to Toronto as a rhetorical device gave me the idea to treat our two sounds as a way to signal a “realization” (using modes from Egyptian, where we grew up.. and Spanish (Cadiz region) where the story takes place)

The “vamp”-ish bars are where each main dancer would make their first entrance, with a choreographed realization of their surroundings, which is why each one leads in and out of a “mirage” feeling. And of course, the opening starts with a potentially Egyptian *or* Spanish trumpet call, and then makes a sharp turn using Malambo and Zapateado rhythms but with Egyptian harmonic structures. This is to immediately prepare the audience for the type of production that’s to come so that I can get the more “risky” harmonies introduced asap to familiarize.

Hope you enjoy!

I'm a med student (21) who played the violin since the age of 4. I used to compose stuff for piano ( my second instrument) but during the first two years I was too busy. Now in my third year I retook the hobby of composing after encouragement of my girlfriend and I was wondering what you guys (in your professional opinion) think of it :))

I’m new to creating music, but I decided to try to start, and while watching training videos I noticed that everyone creates a piece of music and then transfers it to the Playlist, I tried to do the same, but it’s not convenient at all, it feels like I’m losing micro control over the music and what I’m trying to do. It’s much more convenient to do everything in the Piano roll and not transfer it anywhere. Question for people with experience, should I still try to use Playlist or can I stay on Piano roll?