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@Alex Weidmann No worries. Yeah, that makes sense. :) Some programs are annoying to work with score set up. Trust me, I know. (haha...finale). But..hey..I enjoyed it!

This is an old song of mine I just reworked & added an Ai vocal to replace mine; The guitar playing is all me. Unfortunately my health prevents my continued adventures on the guitar. Oh, I also rewrote 2 of the verses. When I Went Down.mp3

It seems I'm still kicking. I revised this one quite a bit, with an Ai vocal to replace my cruddy tones. Somethin U Got.mp3

another recent song Tuff 2 Bluff2.mp3

A recent song No Good Comes From Goodbye.mp3

As the month of May begins, we are excited to share that the 12th edition of our Young Composers Competition is now accepting applications. We encourage everyone to visit www.thecapitalhearings.com/competition/ to learn about this year’s theme as well as guidelines and official rules for the competition. All U.S. & Canadian residents age 18-40 are welcome to submit a 2-5 minute original composition (arranged for mixed, unaccompanied choir) related to this year’s theme. We especially welcome submissions from unique or underrepresented perspectives – and in unique or underrepresented styles. Submissions are due by July 5, 2026, and a prize of $1,000 will be awarded to the winner. All applicants will be notified of final award decisions by mid-August, 2026.

Dear friends, Please find attached my second attempt to write for theorbo. I wasn't very happy with my first effort; but I think this one has more promise. Not quite sure about my ending though. Does it fit? Any suggestions for titles would be helpful too, because I can't quite think of one at the moment. Theorbo piece #41 (midi).mp3 Theorbo piece #41 (midi).pdf

Many thanks Luis and Kvothe for your comments! Yes you're right, the score is a mess! It's designed for midi rendition: so I haven't tidied it up yet. Where I have separate staffs in the woods and brass, it's because the material is too complex to combine into one staff. Although I do have more work to do on assigning a2 and solo passages. The piccolo was sounding very shrill and horrible at Bar 87: so I tried to pull it down with the pppppp! In practice that whole cadenza-like passage needs rewriting in some kind of modified gesture, because it doesn't translate very well to orchestra in this literal transcription. The large jumps in woods and brass would probably be difficult to play: so I will try to change those somehow. Maybe by alternating between instruments? I will try pulling up the dynamics on the vibe, glock and harp, though I do want them to be fairly subtle. N.B. My tempo is much faster than the original piano work, because I felt it sounded better that way. Wonder if others agree with this choice? It's a lovely work that's not especially well known: so hopefully I'll be able to do it justice in the end!

Hi all, it's been a really long time, I decided I wanted to come back and check out what's going on! I also wanted to share two successes of mine in the past several months: Slipping, which was written in early-2025, written for Symphonic Orchestra, was performed by the California Youth Symphony in November 2025. I have attached the score and two recordings of it, one MIDI and one of the performance. The Dunning-Kruger Effect, written in mid-2025, written for String Orchestra, was performed by my school orchestra, which I conducted. I have attached the score and here's the video: https://youtu.be/CQBDUVbKEpQ?si=psCVro_MLM3NfmEV . Looking forward to seeing what's going on in this forum after so long! Slipping.mp3 Slipping FINAL MIDI.mp3 Slipping-score.pdf the dunning-kruger effect score.pdf

Hello I have to say that, overall, it sounds very good. Without being a super-expert in orchestration, I think I’d take a closer look at a few things. For example, there are some very large leaps that could be handled differently, such as the bass clarinet and oboes in bars 9–10, or the tuba in bars 107–109. There are other examples too. I’m not familiar with the original version, but perhaps it’s a bit too literal. There are very low registers for some instruments, such as that piccolo arpeggio in bar 87. And with an impossible pppppp dynamic, which is also incongruous: as it ascends, it doesn’t make sense for the volume to decrease.

Im very pleased for you , its great when things go your way......................it starts opening Doors.

Yes, I do understand. I think it depends a lot on what your goals are, how you work, and why. For someone who arranges or produces music, who works with a DAW, a ‘wordbuilder’-type concept will be best because the result is surely more realistic (at least for now, given that Cantai has only been on the market for less than a week, according to Dorico). It also allows you to work with lots of different software. But that’s not my role when it comes to music. What I like is writing music and getting it to sound, more or less, acceptable. I do it purely as a hobby; it’s not my profession. And although I’ve used Finale and MuseScore, I’m much more familiar with Dorico. That’s why this integration is brilliant for me.

You Don't have to live in the past...................Your Free to Embrace the Future. Since joining this site in late February this year, we've had over 1.000 emails requesting Quotes for compositions from Vimeo.com , via Youngcomposers.com Does anybody know if this site is hosted in the U.S.A ?

Matthew 5:3-9 KJV The Beatitudes from The Sermon on the Mount 3 Blessed are the poor in spirit: for theirs is the kingdom of heaven. 4 Blessed are they that mourn: for they shall be comforted. 5 Blessed are the meek: for they shall inherit the earth. 6 Blessed are they which do hunger and thirst after righteousness: for they shall be filled. 7 Blessed are the merciful: for they shall obtain mercy. 8 Blessed are the pure in heart: for they shall see God. 9 Blessed are the peacemakers: for they shall be called the children of God. There are a few more beatitudes, but given the times we are living in, ending with peacemaking seemed like the right choice. I wrote this so that choirs with fewer tenors and basses could combine them into a single section and have better balance against more numerous sopranos and altos. There are a few short splits for the baritone part to keep life interesting, but they are all doubled by the piano part so that the whole section can decide to sing just the upper part if they are mainly tenors, or just the lower part if they are mainly basses, or divide between the two. Enjoy! Maggie Blessed Are They-Furtak.mp3 Blessed Are They-Furtak.pdf

Hello @Alex Weidmann. This is beautiful orchestration of Faure's Prelude. I love the tonal colors and textures you have created. However, I have a few minor suggestions. I would recommend have full score on page 1in score order. Then following pages, you can condense it. woods and brass usually share staves. That way, you can write a2 or which wood part or which brass part. The Pitch percussion is barely noticeable. Same goes for the harp. 3 and 4 have to do with orchestral balance issues.

🎬 ★𝜫𝜤𝑮𝜢𝜯 𝑳𝑰𝑭𝑬™ | Main Theme + Opening-Closing Credits : Combined

That's a lot of info dumping...with very valid comments from @Kvothe and @MK_Piano. I am curious if this specific piece was requested by a 3rd party or did you create for your own learning/pleasure? I'm also not understanding your answer to @MK_Piano's question of how you write your pieces? You mentioned keyboard...do you input the notes and everything using that keyboard? Or it does it come with pre-rendered samples and you just mash them together? I'm a noob when it comes to electronic music... As for the piece of music here, it's alright. It's catchy but repetitive and generic. Not really sure how it ties to Alaska...if you didn't have the video posted, I would've chalked it up to random elevator music. If what you say is true about how the media industry works, it's a shame that the craft of a music making to tell the story pioneered by legends such as Korngold, Newman, Williams, etc. is dead.

We have NEVER had a request for a Pdf Score..............most people cant read Music We have had Several Requests To RE-EDIT The final Production, which is no problem, Because Film Production edits are common practice ,right up until the Final Release. Thankyou for ALL your recommendations..perhaps you could except a few from me too ? 1: Create a Website 2: Upload your Compositions to that website 3: Complete a Portfolio,in order for others to see & Hear and judge your Credibility

You Maby Right.... From my perspective, i would have to be Chained &Tied to using 1 program- called MuseScore as opposed to using a "Drag&Drop" procedure, with Symphony Choirs WORDBUILDER Which for myself would be approx 75% Faster....... However Cantai has created a unique concept , in Vocal Score Assignment.

@Henry Ng Tsz Kiu As always, you performance is lovely to hear. That makes sense now @Thatguy v2.0. I forget that programs are not smart enough to understand how we play the piano. :)

please listen to the following message (info dump): As a pianist and emerging artist(composer), my sole objective for you @interlect is to you to achieve your dreams. This is why I am giving you the best insight I can possibility can as writer-musician on this forum. The ultimate end goal of the forum is to practice our musicianship in friendly manner (upload our projects and join in competitions). Why? we can learn from each other and become better writers in our craft. In other words, we want score as many touch downs and win. We want to become professional. How do we achieve that: 1)learn from each other: review each other works. And make revisions we needed. One member made 5 version on composition he/she uploaded. Take note about that! 2) Make connections and relationships. Two members on here have done that. One writes the piano piece and the makes a recording of it. With larger ensembles that may be tricky. But there are still options. 3)Be prepared! @MK_Piano nailed it. With out a body of works, it will not be easy. Yes, this means professional demos (mix and master). Not something from MuseScore! and it also means having score musicians can read. @MK_Piano analogy is perfect. I can perform at my house and write in dorico. But if ensemble performs a piece I wrote, then that increase their interest by a mile. Kvothe. Final note: That is not true about a director. Speilberg never told Willaims that.

Hey Vince, It’s a long time since I review anything so here’s the first one! (I’m still going on with the hiatus though since I’m revising my Clarinet Quintet, listening orchestral music and will write the Orchestral Variations on Peter’s theme tho.) I like how you combine the dreamy dissonance with counterpoint technique here. I love b.3 of the subjects as it’s already containing two voices in a line and it kinds of reminds me the sighing motive of the Kyrie subject of Bach’s Mass in B minor. Motivically you make use of all the motives from the subject for coherence and economy in episodes which of course come from Bach! My favourite spot of the piece comes in the D flat major passage, it definitely is your voice there, I love your harmony! Also, only by analysing in order to play your fugue did I notice a sneaky quasi subject augmentation in b.28 so I bring it out myself. I also love the ending myself, as it’s in F sharp minor which sadness kinds of reminds me my own F sharp minor fugue in the Sextet =.= I don’t follow all the pedals and dynamic instruction you tediously write, sorry for that 🤪, for example I add pedals in b.33 to make it more dreamy, b. 29 I probably played forte instead of mp since I thought I fell the passion there, etc. Only one thing I would suggest on the scoring is that, I would use the same beam direction for a voice especially for subject entry. For example I would use an upward beam for the first F# in b.5 to indicate the subject, and turns the A and G# into a downward beam. In b.14 I would turn the D downward and C# upward, since it is the C# that’s in the subject, not D. But these are just nitpickies. It’s fun to play this, and thx for sharing this! Henry

Hello! This is a small villanella i composed a few minutes ago just for the fun of it. It's not perfect, and sometimes the AI perfomed the lyrics BADLY but its good enough for what it is. Enjoy! LOB 79 Ecco una villanella o signore (AI).mp3

Agapē Agape.mp3

Thanks for listening luderart, glad you enjoyed it :) Hey Kvothe, thanks for listening! Regarding your point #1, yeah you're correct, it was more for playback. @Henry Ng Tsz Kiu was kind enough to record it, I could just write con pedale or something now 🙂