Hey man it's all about personal preference. Personally, when it comes to composing I prefer larger ensembles. I wouldn't have a clue what to do if I tried to do what you do. That's your specialty brother, keep at it.
As far as notation I'm terrible at that but I see that you use Mixcraft 7. I haven't used the notations on there I only use M7 for recording vocals and guitar but the piano board I see there looks similar to the piano roll in FL Studio which is what I use.
On the left side where the piano keys are I see a C.
Personally what I like to do is choose a chord and the melody I want will play using the notes in that chord. Say for instance I have a piano playing the C major chord which is...C, E, G. I'll take a violin and play notes in that chord in any order: G - E (sustain) - C...or any order you want.
In your picture I see a series of notes playing under that C5 there, those notes are playing on a B. Use that B and turn it into a B major or minor chord (Major chords sound more bright and heroic, minor chords are more dark and sad)
B Major Chord - B, D#, F#
B Minor chord - B, D, F#
Now ontop of the B chord you are using, in your picture I see a E5, F5, E5, F5...those notes do not belong in a B chord. They are what could be "possibly" called passing notes which are notes or "a" note that don't belong to a particular chord but can be used anyway as long as that one particular note belongs to a chord in your chord progression...I think something like that. So what you would want to do is use notes in that B chord unless those passing notes are something you want in there.
On line 7 the notes at the top are B, A, B, A, B, A...then a note drops back down to F.
The B note is fine because you still have the B chord looping (That looping B chord is called an ostinato, which plays the same chord over and over again until it changes into a different chord and then that new chord you transitioned to would be in ostinato form until it changes again to a different chord or back to the original chord you had before which was B.) However you may want to consider changing that A note to a G flat or F# since that G flat belongs in a either a B major or minor chord.
But you need a chord progression to keep track of your melodies or ambience.
You originally can have a B chord if you add the notes in that chord and have those three play at the same time. I will show you a picture of what I mean in a bit.
Lastly if you do want to stick a particular scale like the C major scale that B chord will need to be a B diminished chord which is B, D, F or in other words "B dim" OR it can be a "B dim7 chord" which is...B, D, F, A...that "A" note added on there. Pictures below to better explain...
First picture (The keys are actually shown here but in the second picture it doesn't show what the actual keys are but they are all in the same position...just for reference.)
In the first two bars I have the B major chord playing four times before it switches...B, E flat, G flat...or B, D#, F#. At the top of those chords are the notes playing on top of that which are B, D#, B, D#, B, D#, B before it switches. Those notes belong to the B major chord and it keeps the sound altogether held tight and not out of order.
For the next two bars this is a B dim chord (*IF* you plan on using the C major scale in particular) the notes in the chord are B, D, F...at the top are notes playing over that using the same notes in that scale. The last set of bars is a series of B dim7 chords with the "A" note added on top of the B dim chord. Same thing with the notes on top...F, D, F, D etc.
I included the mp3 of this too and of course you can create and come up with a variety of melodies, chord progressions and such using the C major scale or minor scale. I just used the B chord since you have a series of B notes in your picture.
Here is the C Major Scale...Monarcheon correct me if I'm wrong (The "m" stands for minor chord. All letters without the "m" are major chords)
C, Dm, Em, F, G, Am, Bdim
Sample chord progressions from that scale:
Em - G - Dm - F
C - Am - Bdim - F
The list goes on it's up to you. You don't want that C to be a major? Screw it turn it into a minor. You don't want that A to be a minor? Turn it into a major.
That's all there is to it bro. Hope this helped.
Hans don't feel like that man. Your sound is very unique and you have your own style, trust me I be listening to your stuff and I like what you do.
We're all still trying to learn man and I still don't know crap. What the heck are Lydian scales? What the heck is counterpoint? What in Beejeezus name are monotonic, atonic, thread and needles harmonic blah AHHHHH!!!!!! Heck I have a major crush on @Monarcheon will she ever give me the time of day? Probably not...wait...did I just type that out loud? -coughs- anyway...-clears throat-
Point is a lot of composers here know a crap load of stuff I WISH I could know so don't let nothing discourage you when something doesn't seem possible. You know on top of reading everyones' advice I also do my own research and while I do practice this new found knowledge I create a piece while practicing so to speak and post it for review to know what could've been done different.
You learn quicker like that. Researching here is what I learned:
C major chord - C, E, G
Intervals: You can tell it's a major chord by counting intervals between notes. Count four from C then count three from E. For instance...
C > C#, D, D#, E (Four intervals cause you arrived at E.)
E > F, F#, G (Three intervals.)
For a C minor chord the intervals switch. Instead of counting four intervals starting at C, you count three starting from C and you arrive at D# or in other words an E flat. C# in other words is a D flat. So you arrived at an E flat which is a D# Now count four intervals from there and you arrive at G.
I'm not exactly sure what you need help with because you probably know that stuff already but man don't give up bro. I am more than welcomed to answer any question you may have.
Btw...the endings to my pieces always sucks.