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"Yes, there is software that can take a audio melody and create music notation." Oh i had no idea that existed................... whats the point of it ? "I am very curious about the "System" you are using .... is it a special software/hardware program." Yes , Its a Pre-Alpha Prototype system, that's aimed at TV-Networks, for film-scores-adverts,Documentary's, etc "Because your posted score seems highly unusual" Highly Unusual ? .........................ha ha ....that's the story of my life ! I cant read music...........if i hear a song i like on the radio a couple of times...............i can play it . I luv the Big Budget Action-Film scores, and once iv created a Rendition of something it becomes second nature to create My Own Compositions, based on a specific......... "Sound"

Yes, there is software that can take a audio melody and create music notation. I am very curious about the "System" you are using .... is it a special software/hardware program. Because your posted score seems highly unusual. Mark

don't worry i am learning flute next year 😁

Hi to all musophiles! Just wanted to share my latest piano work, which was improvised around three chords. These were C major 7 sharp 11, E minor +6 +9, and B minor +9. The first two are from Howard Shore's score for "Lord of the Rings", and the last one is Ravel's favourite chord. I haven't put my phrasing slurs in yet; but it's otherwise maybe finished? Not sure if it's any good; or if I should just bin it? Have also included an earlier version (#34) that had an awkward passage one minute into the piece. I liked this material; but couldn't find a way to integrate it into the piece. It sounded rhythmically weird, no matter how hard I tried to make it work. Thanks for listening, Alex Chills #36.mp3Chills #34.mp3 Chills #40.pdf Chills #34.pdf

I tried my hands at writing another waltz. Death Waltz Audio.mp3 The Waltz of Death.pdf

Hi @Martynas123 ! I think the melody in this recording gets buried underneath the less important voices. It's important to balance the parts properly in the mixer or by using dynamics in order to bring out the most important aspects of the composition and relegate the less important parts to the background. With piano, in Musescore, the way I usually do this is by using multiple pianos and giving each individual piano its own dynamics/levels in the mixer. That gives me more control over parts I want to bring out in high relief above the background figurations and parts of the chord which shouldn't be as emphasized. Then of course you have to edit the playback file to make it look right for the PDF export, but for me at lease, it's worth the effort. Thanks for sharing!

Hi @Grant Weep ! Thank you for your feedback, and I am glad that you enjoyed the piece! I did consider extending the cadenza-like passage in measures 198-203, but ultimately, I needed to return to the main theme without making the transition too bland. That's a fair suggestion I will keep in mind in my future work – transitional passages are the hardest to manage in my opinion. Well, this section is actually a reprise of the slow A-flat major theme in E-flat major! I reused the melody in the coda to make it more memorable; otherwise, it would only be heard in the middle section. Hmm, that's a difficult question to answer. I can't really put it into words, as I wrote this from the deepest depths of my heart. All I wanted was something that sounded harmonious, would resonate with my listeners, and, most importantly, would feel great when performed. That has always been my philosophy of music composition. Thanks again for listening to my piece – I really appreciate it!

Im sorry i don't understand what you mean ? Unless your referring to some kind of software that Records audio, and then converts THAT AUDIO into a score composer ? Im not sure that such a program even exists ......that would surely be a breach of copyright ? This System creates any kind of compositions from the Ground Up You can tell that the "ORIGINAL Robcop2" composition below...........sounds completely Different.

Lovely sentimental work. I loved the bassoon solo in the beginning! Mark

Are you using software to transcribe the audio in to music notation? Mark

With respect to tempo/breathing etc. - the oboe part is NOT well thought out at all. You really need to learn about the strengths and limitations of instruments and players; whether you write for woodwinds, brass, strings or percussion. Best to talk to players and show them the score and learn from them. <ark

Edits have been made to the score, as I mentioned. Check it out if interested!!!

Not quiiiite that plugin. I simply use MuseSounds Pro which includes their own mixed version of some popular plugins, which they've partnered with to create exclusively for MuseScore Studio. They can be found in the MuseHub Application. -Unc

Ohhhh.... The Double -Barrel Big Guns !...very nice.....no wonder it sounds so good.......That will create alot of Inspiration

Thank you, Lithl. :) I have a few thoughts of something I want to add to this piece, despite finalizing it. (I also noticed some engraving errors I'd like to correct.) Stay tuned, if interested :) -Unc

Regarding playback sound, I use Nucleus / Audio Imperia Flute & Clarinet, MuseSounds Bassoon, and Spitfire LABS Reverberant Ribbons Intimate Piano. It's just utilization of VST3 plugins to get that realistic playback sound :) Thank you for your kind words. I have more I have thought I want to add to this piece. Stay tuned, if interested. :) -Unc

ʜᴇʟʟᴏ, ɪ ᴊᴜꜱᴛ ɢᴏᴛ ᴀ ɴᴇᴡ ɪᴅᴇᴀ ʙᴇᴄᴀᴜꜱᴇ ɪ ᴡᴀꜱ ᴀᴛ ꜱᴇᴀ ᴛʜᴇ ᴏᴛʜᴇʀ ᴅᴀʏ, ᴀɴᴅ ɪ ᴊᴜꜱᴛ ɢᴏᴛ ᴀɴ ɪᴅᴇᴀ ꜰᴏʀ ᴛʜᴇ ᴘɪᴀɴᴏ ᴘɪᴇᴄᴇ " ᴏᴄᴇᴀɴ". ɪ ɴᴇᴇᴅ ꜰᴇᴇᴅʙᴀᴄᴋ. (ℝ𝕖𝕔𝕠𝕣𝕕𝕖𝕕 𝕨𝕚𝕥𝕙 𝟙𝟠𝟚𝟞 𝔾𝕣𝕒𝕗 𝕡𝕚𝕒𝕟𝕠) Jura (Ocean).mp3 Jura (Ocean).pdf

From "The Occult" by Colin Wilson: And if you've gotten this far, thanks for reading!

Ah, thank you for teaching me a new concept @PeterthePapercomPoser . I always just thought of that chord in question as a special dominant chord that is just a half step above the actual dominant chord, so in my mind it was flat because I saw it as a C7 chord, if that makes sense :) I think I see the logic of having it as a A# now. It's kinda neat how depending on the genre, can be seen different ways. Sorry @Martynas123 !!

Just be carefull

What a Lovely little Doggy, immediately made me cry. I think some doggy's have a spirit that can be seen beyond the Fur The love they possess can be seen in certain characteristics , wagging their tale when they greet you excited about being taken for a walk, and of course Dinner-Time That kind of spirit can't be embodied by a mere human because its Far to PURE. Regarding this composition , i did previously say that your " Best is yet to come" And this is the first one, and the start of many more... perhaps your getting Guidance from someone, with the letter "A" ? --- The whole composition sounds like its being played by REAL people Because every Instrument sounds so REAL ! I dont know how you did this, but its BEAUTIFUL , just like Anna x

Hello dear UncleRed99, This is a wonderful piece. Since she lived to be 17, she certainly had a long life. Of course, I hadn't heard the piece before, but it has a lovely, nostalgic quality to it. It’s not nostalgia for a specific place or time, but rather the kind that comes from looking back on cherished memories. It has become a beautiful memory paired with a beautiful song. Your work is always so gentle and warm; it brings a sense of comfort. Thank you for sharing such a wonderful piece and your memories. Rest in peace, Anna. Best, Lithl.

Thanks @Grant Weep for your review of @Martynas123 's piece! I would argue that the spelling of the chord in measure 12 is correct with an A# instead of a Bb because the function of the chord in question is a German Augmented 6th chord. The augmented 6th in question is between C and A#. In this type of chord, the C is expected to resolve down to B while the A# resolves up to B. One could argue that its function is similar to a tritone substitution dominant 7th chord which would in fact be spelled C, E, G, Bb. However this type of spelling is used in jazz music. In the classical period, the proper spelling and function was quite different from its conception in jazz.

Hello, I liked the galloping momentum of the song. And just when it sort of settles in and I'm banging my head to the music...the atmosphere change at 57 was unexpected and pleasant. Around measure 92 to 100...best part of the piece in my opinion. It sounds...almost kinda jazzy, but not really, I had to try it on the keyboard for myself. Where did you get the idea from for this part? While you did not ask for feedback on notation...I found that you would do this thing where you wrote A# instead of Bb and it made it hard to follow the music in the beginning. If you wanted other people to read your sheet music I would recommend looking into that. The first instance of this occurring at measure 12 in the right hand, I would replace the A# with a Bb

Anna's Lullaby was the culimation of an instrumentation challenge posed to me by @MK_Piano , and a Piano Chord Progression & Motif that I came up with during my down time. It elicited, to me, what felt like a lullaby, or, a loving embrace. Which reminded me of one of the Family dogs that we had, growing up. Her name was Anna. She passed, in recent years, due to her old age, and she was one of the most memorable parts of my childhood. So I've dedicated this score to her memory. I feel it lays her to rest, in a careful and loving way. Feedback is welcomed! -Unc Updated - Added Oboe part, adjusted Harmonies, fixed Piano Ped. Mark Engraving. AnnasLullaby.pdfAnnasLullaby.mp3 P.S. Here's the most recent photo I had of Anna. I wish it were a better one. It's a screenshot of a video I took of her giving me a "5" or, giving me her paw. You can see her age in this photo. She was 17 when she passed.