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You Maby Right....

@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 🙂

Since today is this year's Mother's Day, I finally decided to finish revamping a composition I had already published for the very same occasion 3 years ago. Compared to the original, the whole piece has been transposed from E to B minor in order to better accommodate for newly included passages. However, still not dissimilar from the first drafts, passages with constant false relations are abundantly featured in this piece, to the point that the harmonic resolutions expected of more conservative counterpoint are frequently sacrificed for the sake of chromatic saturation. Scrolling video link (YouTube): https://www.youtube.com/watch?v=mYUZX-iQSF4 Passacaille en Valse in B minor.mp3 Passacaille en Valse in B minor.pdf

I don’t know why it’s called ‘Cantai’. But I don’t think it has anything to do with artificial intelligence; rather, it means ‘to sing’ or one of its verb forms in various Latin-based languages. What’s more, it uses recordings of real professional singers (soloists and choirs). I’m familiar with that software you mention. And I used to have it, but depending on what you want to do or what your needs are, it’s better or worse for different people. What I like about Cantai is that you write the notes and the text in the same editing programme (MuseScore, Sibelius, Dorico). And that’s it. It uses expression maps for dynamics and so on. You don’t have to work outside the editing programme (in a DAW, or in XML, etc.). Which is fine, if that’s what you want to do

Hi I'm not an expert I just created an account to learn more, but I wanted to say that I really enjoyed both of them. The souned quite nice to me. Well done :)

Hi everyone! Sorry for the double post but here is the orchestartion version :D score.pdfwarborn - orchestra - draft - 7 - 03-05-2026 wip - Flow 1.mp3

WORDBUILDER !...I forgot to include this link, thats 9 years old, but prebuilt on the 20 year old original program

Hi This does sound Fantastic..............but in my opinion this is NOT ai, there using the " ai LABEL " in order to promote sales of their products. The software program im using is over 20 years old, and used a similar TECHNIQUE as in the video below, that video was posted 19 YEARS AGO ! but we incorporated "REAL-HUMAN-VOCALS" ..some examples below. 20 Year Old Vocals.mp3

Here is an other revised version! Thanks @Kvothe for your feedback :) War born draft 7 simplified, minimal version 2 03-05-2026 - Flow 1.mp3 war born recomposed draft 7.pdf

The Compiling and Uploads of Future Pdf Scores..............Has now been Terminated see link below :

The Compiling and Uploads of Future Pdf Scores..............Has now been Terminated see link below :

From a mixing standpoint, I am confused for the balance in both ears. If it was used in production, then the sound engineer would just balance or displace to the left or right channels when needed. Thus, I think it better to leave the audio equal in both channels. Music: It gives the sense of taiko drums or African drum circles and this is what I wish to speak on. From what I know, it doesn't make sense to repeat the same pattern for too long or have a secondary drum just forcing it's way into the mix by playing off beats. It can work, however, if you ever participate in one, you'll know that one person keeps the beat steady while others play off, conversate, and compliment each other. Whether or not this was your intention, be clear in what you think the music may be paired to. Besides being a generic drum track, think about how others may use it: 1. Jungle fly-over for Documentary 2. Aztec documentary 3. Chase scene 4. Showcase for new product. 5. etc. You can take inspiration from certain cultures or musical examples and create drum tracks for more implied purposes. Lastly, if you want this to be used in a percussion loop within a DAW, make it better for those who want to use it and allow the ending and beginning to overlap or restart on eachother.

Hello Have you heard of this virtual instrument called CANTAI? Please note: I have no affiliation with these programmes, even though I use them. https://cantai.app/ It’s a virtual instrument for voices and choirs. It works with MuseScore (which is more advanced), Dorico (the official version was released a couple of days ago) and Sibelius. The novelty is that you write the score, add the parts (soprano, alto, tenor, bass, choir) and write the lyrics... And once everything is set up, the result is that it ‘sings’. I use it with Dorico. It still needs improving, because although it interprets dynamics and accents, and there are many voices available, there will be more. At the moment, in Dorico you can write in English and Latin. But Chinese and Spanish are already available in MuseScore (I think). I’ve written this little sample song to see how it works.

This is my 16 attempt at drum tracks. Slightly better I think than the previous i made but still room for improvement. Any feedback? Thanks. drum track 16.mp3

I speed composed a short Hanz Zimmer imperssion after listening to the sherlock holmes sound track serval times. Any feedback is welcome. Thanks. zimmer impression no 2 - Flow 1.mp3hanz zimmer impression score.pdf

Hi there @interlect. Thanks for us the score for this for this submission. Here's my review: When you have string parts, make sure you label them with correct names: violin 1, 2, viola, cello, etc. I am sure the samples you are using in the DAW have those names, too. When the DAW produces a score, the notation can be wonky. However, that does not mean you can clean it up. You are the composer! It is you job to make sure the score is readable, too. Remember: if music can be always performed live, if there is opportunity to. Thus, why not make sure you are ready? Fun fact: Film music has reached the concert setting now. Kvothe.

HI there @interlect, The production of the track is swell; and it can I hear the influence of Bob Marley. But, I would like to see parts and score to give more in depth review. That would be great. Thanks. Kvothe.

Here's the current version of this piece. I'm still very unhappy with it tbh. It sounds like a soulless mishmash of bad ideas! I feel like I've had to compromise too many times with my two-part writing and tonal centres, due to the limitations of the instrument. The result is a piece that feels meandering, and bent out of shape. The only part I like is the coda! I've started writing another work for theorbo that I'm much happier with: so I'll probably send that one forwards to our concert later this year, and abandon this one. Theorbo piece #26 (midi).mp3 Theorbo piece #27 (midi).pdf

A Tribute to the late BOB MARLEY BOB MARLEY 2026 TRIBUTE.mp3

Thank you for your kind comments! You are not the first one who recall Bartok while listening my works - I guess it is because of the crude dissonance. I mainly write on computer as it gives me immediate playback which makes my writing more convenient. It is important the method of writing follows the speed my idea comes! haha. It also make the engraving easier. Here is the full set of my Symphony No.1: Symphony No.1 - First Movement - Orchestral and Large Ensemble - Young Composers Music Forum Symphony No.1 - Second Movement - Orchestral and Large Ensemble - Young Composers Music Forum Symphony No.1 - Finale - Orchestral and Large Ensemble - Young Composers Music Forum