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Wow, great analysis! Thanks for getting back to me so quickly too. Agreed I didn't really hit the brief very well. Quite difficult though in just 5 days, as JW tends to use lots of strange chords and exotic scales. Hexatonic and octatonic seem to be his favourite. Will go back and rethink my arrangement along the lines you've suggested. Part of the reason it ended up that way is down to the course itself. We were told to use octave doublings to create a strong melodic line on Day 2. Then on Day 3 we added harmonies. (I pretty much copied the orchestration of the course leader here.) Day 4 was middle ground (counterpoint lines), and Day 5 finishing touches of orchestral colour, like harp, cymbals, glock, mark tree, celesta etc... Some of my tracks have a ton of extra reverb, e.g. celesta and trumpets 2, 3 & 4. That's because I liked the effect; but I imagine this uses up lots of extra frequency space in the mix too. Anyhow thanks again, will take another look at this over the weekend. Alex

So a few things: Firstly, this isn't really very similar to the style of John Williams at all. But of course, John Williams is an absolute master; he'd already been composing 40 years before his first film score. Writing a piece in his style is no small feat. As for your mix issues, I'm not really hearing a problem with the overall levels on my end atm, but there are definite balance issues. Some of these are due to musescore/musesounds which right now are notoriously unbalanced and have limited ways of fixing that, but some can't be. What you could do is put the tracks in logic and automate volume to help them out and send them in to a new reverb. However, some of the other issues are related to orchestration and sample limitations. For example, you have, as a lot of modern composers do, all these big block chords with a melody over them. Bar 20 is a good example. Firstly, you have the trombones and celesta eating up a ton of the frequency spectrum by playing these huge chords, but then you ALSO have the trumpets coming in three-part harmony AND a String Melody in three octaves with the cellos taking the lowest octave. And everything there is playing mezzo piano. That's a recipe for mud, even in a live context I'm afraid. Then, in bar 22 onward, you still have trombone footballs, but now they are accompanied by absolutely massive harp chords. While that is happening, you have different things happening between bassoons + horns, violins, etc. Another issue is that the bass is entirely footballs in the piece, which does not give it any breathing room and becomes rather exhausting to the ear. "Melody + Chords" style Chord pads that have become popular in film music are actually generally considered bad practice not only because they're boring to play, but because the strings, low brass, and choir are basically the only ones good at playing them and these are large ensembles that take up tons of room in the frequency spectrum and stereo field. So you see beginners give this big, five-voice string harmony with a lonely oboe melody on top and then wonder why it's so hard to make the melody stand out even if the strings are at Piano. It's because the oboe is totally surrounded and your ear will focus on whatever line is thickest (the chords). If try to thicken the woodwind line, you're now competing for space with the strings. However, unlike samples, live orchestras have almost infinite dynamic range, and not only that, but they can stay at one dynamic range and still have a lot of modulation in the sound, which is something samples can't do. So chord pads with samples tend to just sound bad. With these pads mocked up with samples, you're always going to fighting the fact that your chords seem like they just can't play quietly enough, and if they can, the timbre is bad because you can't modulate the sound without screwing up the dynamics. TL;DR: You can fix some issues by loading it into a DAW, but the main problem is the writing/orchestration and samples suck at chord pads.

Hi to all. This week I took part in a 5 day composing challenge, where we had to write a short cue in the style of John Williams. We started with a piano sketch, then progressed through different stages of orchestration. Posting my work from all 5 days here. What I found, was that MuseScore produced progressively more distortion as I added more instruments. The meters didn't show any excessive levels, but I'm definitely hearing a serious problem, even when I turn the faders down by 6dB or more on all instruments across the entire mix! Tried using the free EQ and mastering plugins from MuseHub; but they're very limited in scope, and seemed to make things worse. Any tips on mixing solutions very welcome! I could pull everything into Logic Pro 11, and try to fix the issues there. Not really sure what plugins to use though, and on which tracks to apply them.

Okay making this post is a pretty impulsive decision and I hope I'm not intruding, I discovered this place today. In summary: I'm 15 years old, and I've been trying my hand at composing for around a year and a half now. I've written a handful of pieces I'm proud of, mostly for string orchestra. I'm a former violin player turned french horn, but I would consider myself having a much better understanding of strings than wind instruments (when it comes to composing). In my free time I'm also writing a book that is currently in the revision stages, and the plot of that inspired my newest piece. This is my first time truly writing for a full(er) symphony ensemble (there are missing parts right now, like tuba, that may never get added because I tend to write for sound, not playability, though if anyone has tips for that please please send them my way!!) and I'm trying to really develop my style and just improve my composing overall. Right now I am struggling with not exactly how to end this piece, but more of how to get there. It starts with mostly percussion to set the vibe, followed by an explosive entrance of the rest of the ensemble (0:57), then a softer melody (1:49) (there's more but I'm listing this for context). To end the piece, I intend to write just cellos playing that softer melody introduced earlier (in a different key I believe) with the recurring chimes over the top and probably other various percussion sprinkled in there (with attention on just the cellos). The melody will end and the piece will conclude like it started, with just percussion and a final chime hit. However, I have no clue what to do to get there. The attached recording ends with a callback to that earlier melody, but from there I've tried probably five different versions, none of which I like. My goal was to write one final "heroic" melody with a minor twinge to achieve the proper mood effect, but I ended up adding brass over the last string part at 4:39, so maybe that could be the height of the piece instead? I do really like that part. If anyone has any thoughts, any comments on anything in the piece, tips for compositional work, structural work, anything at all really, please let me know! It can be as long or as short as you like, I just would like help. I've never posted my music online before, know barebones music theory at best, and have a horrible ear for this kind of thing. Thank you in advance!! trial 2 incomplete.mp3

Thank you! Yes I just finished making a version with organ and more, gonna post it. I listened to the soundtrack you mentioned, it does really have a similar vibe. This groovy spookyness..

Hi @shirz and welcome to the forum! I like the alternation between the two main harmonies you use throughout the piece! I think these kinds of simple alternating harmonies have a lot of expressive potential! It does sound kind of demented and spooky. Organ would make it match your target vibe even more! You know .. this music kinda reminds me of the OST to an old SNES game called "Zombies Ate My Neighbors" LoL! Great job and thanks for sharing.

I made this composition while testing a virtual organ i really liked back in the day, its for 2 villagers as the title suggests but it was originally for Violin and Soprano. Since musescore can not render lyrics and AI sites that do that are very pricey i decided to just change to the villagers. Enjoy! ❤️

It sounds phenomenal. I always really enjoy microtonal music; it has a special aura, which is obviously different from what I'm used to. In this case, I also like how it's organized into a little fugue. The dynamics are great.

Manuscript has the slurs of course, but I don't bother with them or dynamics, expression markings when I enter it in the computer, takes long enough!

Hey there! Thank you for listening and your feedback, greatly appreciated! It's true that while I taught myself mainly from Fux this composition is much closer to a baroque piece. Having said that, my main goal is self expression rather than composing in specific styles. I listen to music from the renaissance up to romanticism, as well as modern pop music so ultimately my works will have those flavors, and I wouldn't want to restrict myself from making certain choices because they wouldn't fit a particular style. Expression as a whole is an aspect of composition I've definitely neglected, and it is something I'm working on. While I find the idea of letting performers give their own interpretations fascinating, ultimately the lack of expression markings in this piece are the result of me spending a little too much time on counterpoint and ignoring other areas of composition. Hopefully I can add more dynamics and such as I get more comfortable implementing them. I've been trying to make music for many years, so it's nice to finally publish something and share it. The next movement will heavily feature fugal elements, while taking some liberties with the structure.

Thx! I love the bird humming haha, and the pentatonic actually still a reminiscence of the G flat Major Sextet!

Hello @Fausto Manuel Orieta, Welcome to the forum! I think this one is enjoyable to listen to, even though it’s more in Baroque style’s counterpoint than Fux’s species counterpoint. Like that you try imitation in b.53. Although I find it a bit deliberate with the do re mi / mi re do moves throughout the movement. Also I think you can add some slur markings even this means to be a Baroque piece. I would personally prevent those augmented second movement of the violin (F-G#) near the end since it sounds a bit out of style. Thx for joining and sharing! Henry

Hi @Churchcantor, Welcome to the forum! I only listen to the first movement and I quite like the modulation you have in the movement. For me maybe you can add more moments when the piano carry the melody and the violin can sometimes play the accompaniment. Also, slurs for the violin would be essential! Dynamic details and phrasings are also crucial in both parts! Thx for joining and sharing. Henry

Hello @90110n, Welcome to the forum! I don’t listen to the original at all. Lemme just respond point by point: The key signature is perfectly fine here with just some F sharps for the Dorian mode. I do find the key change in b.127 unnecessary since you are modulating to G/E minor anyway later. I don’t think ninths are unplayable by vast majority of pianists at all. From what I see from your score an intermediate level pianist will be able to play your score so it’s perfectly playable. What is the bar number of the bridges? For me the dissonance here is absolutely fine. I would keep it as it is, and it’s nice you have the sense to avoid repetition for the choruses! For me some of the bars with bare chords like b.65 or 165 too bare. Probably you can add more harmonic notes for fuller chords there. Thx for sharing and joining! Henry

You didn’t write a septuple fugue as I suggested haha. I like the eerie feeling the microtones brought but at the same time it follows a strict fugal procedure so sounds even more eerie to me. Nice job and thx for sharing! Henry

I've been studying counterpoint for years now, learned mainly from Fux's gradus and developed a solid understanding of species counterpoint. That said, one quick analysis of this first movement will reveal deviations from the rules presented in that book. Accented passing notes, leaping from dissonances, and the occasional unprepared chord in second inversion, that one consecutive fifth... I'm well aware of the rules broken and the liberties I have taken when it came time to make the transition from species exercises to actual composition. Despite that, i'm very proud with what I ended up with. There's plenty that I wish to improve, and hopefully you'll get to hear the results of my efforts in the following 2 movements, as well as in everything that will be released following the completion of this sonata. Youtube link with sidescrolling score:

Thanks! I considered doubling the melody with Violins but in the end I decided to let the Distorted guitar shine on it's own. You gotta imagine the sound of the bubbling of the lava inside of a sub-glacial volcano! LoL

I think the microtones in this case make the soundtrack more dramatic, which makes sense if this is for a lava cave. Also, nice use of repetition, adding to the ominous atmosphere. Fun melody from the electric guitar that would work well in an RPG. The only thing I may add is that, if this is going to repeat or loop for a game, maybe consider an instrument that isn't as harsh on the ears...although it probably depends on the sound samples you go for.

I've finally gotten around to writing some of the kind of music I've been dreaming of - microtonal video-game music! This is for a hypothetical video game that I might make myself some time in the future. I thought that microtones would lend themselves very well to creating the kinds of moods necessary for video games, especially RPG's (which is the kind of game I want to make). This particular track is meant for a lava cave type of level. The instrumentation is 2 Oboes, 2 Bassoons, French Horn, Timpani, Bass Drum, Synthesizer, Electric Distorted Guitar, Violins, Violas, Cellos and Basses. The tuning is 24 TET and I pick and choose occasional sub-minor 3rds, super-major 3rds, as well as super-major 6ths and near-tritone intervals. I'd appreciate any kind of suggestion, critique, comment or observation you may have. Thanks for listening!

Hello! This is my first post here and I wanted to share a piece of music that I finished last year. The "A Cradle Song" work is a collection of pieces using the popular poem "A Cradle Song," by William Blake. This setting of the first stanza is the prologue to the entire journey through the poem. I wanted to capture a sense of a sweet and wondrous in the beginning that introduces theme of the work. I also wanted to simulate the feeling of a warm hug--almost as though one can feel the cradle of a baby in their caregiver's arms. The warmth becomes a beam of joy and curiosity as the voices reach up to starts like moony beams. However, where we arrive still leaves a question at the end for what lies ahead. As this is the prologue, it is the shortest piece of the bunch. With all that said, I wish you a wonderful listening experience and any feedback is appreciated.

Hi Frank! Thank you very much for your kind and supporting words. Regards

added a bit more piece organ.mp3

But I'm thinking about it! It will probably be clearer that I copy here a translation of the text. It is not easy to read the translation on the Youtube video on the fly. SOLO DE LUNE (after Jules Laforgue) I smoke, sprawled under the sky, On the roof of the stagecoach. My body jolts, my soul is dancing, Like some Ariel. No honey, no bitterness — my soul is dancing. O roads, hills, smoke and valleys, My dear soul — let’s recall a few things. — Her eyes said: “Do you understand? Why don’t you understand?” — O cool woods along the road, O shawl of sadness, Every soul listens a little, And my life must seem lovely! This stagecoach roof Feels like something enchanted. — Her eyes blinked: “Do you understand? Why don’t you understand?” — O moon solo, You defy my pen. O stars, you’re almost frightening, You’re all here! every one! O how brief this hour is! If only there were a way To keep its soul for the autumn to come. — Ah! Why didn’t I fall at your knees? I would have been the model husband — Like the rustle of your dress is the model of all rustles.

Microtones work a lot better with strings because it just makes it sounds like the performers are slurring their notes. Funny how the whole piece is this eerie mood (bec of the microtones), but then you end in a major key. I love the part from 0:44 to 0:47. It's beautiful to my ears! Well done, you're nailing microtones in a way that makes the listening a fun experience.

A soundtrack idea of mine for exploring a haunted abandoned theme park where the ghosts have unfinished business (probably related to the theme park being abandoned) and you're looking for clues to uncover the story of the theme park... This is mostly a piano rendition, although I imagine the song having organs and strings. But I haven't gotten around to doing it yet... https://soundcloud.com/sheeye/remainders-of-the-fun-we-had?ref=clipboard&p=a&c=1&si=79ddede14a264ba09c51b5f61e3a2635&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing Edit: Full instruments version: https://soundcloud.com/sheeye/remainders-of-the-fun-we-had-1?ref=clipboard&p=a&c=1&si=1f755d42d956498ab5e09c14594f9a8b&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing