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I see you've encountered the annoying bug, where MuseScore duplicates the tempo directions, and propagates them down through the score for no obvious reason. You can get rid of these by selecting each tempo element in the Layout side-pane, and hitting delete. (You'll find them sandwiched between the instruments.) As to the music, it's a lovely piece, and I enjoyed listening; but I think your rendition could be improved. At Bar 50 (for example), you have crotchets in the strings interspersed with quaver rests. These sound very unnatural, because the sound cuts out too abruptly. I'd be inclined to make these dotted crotchets, and add diminuendo hairpins below each one to taper off the note. Then reset the dynamics on the next note. Your staccato tenutos on the strings around Bar 38 have a similar problematic effect: so I would lose those. Hope that helps, Alex.

Great topic! I would personally argue the two are inseparable. Sure some may choose to emphasise one over the other as more important although that creates a false binary, and probably reflects their experience and training. Music is a form of human expression that is built upon a language that has been continuously shaped according to technical innovations, fashion and the political, economic and social conditions of the time. I'd argue that the syntax of that language, with enough training and application, becomes second nature - much like how we speak our native language. That is the intuitive aspect of producing music and which has greatest utility when producing an outline. The obsession with Mozart's compositional process, given his mythologized status, has helped us understand he produced his music by completing the outer parts first and I expect that has been the common practice across the board. Obviously, this still requires technical knowledge and proficiency in a plethora of domains not limited to form, structure, voice leading, and manipulating tonality; but is nonetheless a relatively free part of the overall process where 'inspiration' is most relevant. Much of what follows, in my opinion, is the process of adding complexity to that foundation. And this is where one's technical competencies really tend to shine: through orchestration decisions; enriching the voice leading and counterpoint between the various parts; the manipulation of ideas; and ultimately shaping of your ideas into a compelling construct capable of engaging your audience successfully. For me, the latter is often the most technically demanding, with increasing difficulty in accordance with structural complexity (compare the task of writing a conventional minuet with an opening movement to a suite in sonata-allegro form). Artistic inspiration without technical competency will have a tendency to lead to art that has 'potential' - at best - for the need of further refinement. And technically competent expression that lacks 'humanity' - so to speak - will may result in mechanical and uninspired art. AI music can sound a bit like the latter. There is a useful analogy that likens the depth of knowledge in music theory to that of an iceberg. The deeper one gets, the more abstract the concepts. But mastery of those deeper realms will provide the composer with a wider variety of tools to apply. One cannot simply be inspired to write a 4 part fugue; they would not get very far if they tried...

Hi there @MinGry I agree with @MK_Piano about articulations. As I glance over the first movement, there are moments where you can mark slur for phrasing. You are missing dynamics marks where those hairpins are. The player needs to know what is the starting dynamic is and the ending dynamic is. you start with P then cres p? As a pianist, I would need more information than that. This applies for the second movement and the third, as well. I also agree with @Henry Ng Tsz Kiu on tonal planning of the piece. When it comes to modulation, in the style you are writing in the composers either choose a common chord or common tone. That way, there was smooth transition between each tonal area. Structure: It fits the form of early classical sonata. One with a devolvement. I hope mine, @MK_Piano, and @Henry Ng Tsz Kiu feedback will help you grow as composer. Please continue to write and share your works on this forum. Do not be scared to branch out to different ensembles, too. :) Kvothe.

Even Film composers draw from influences different styles. John Willams drew from Shoenberg's use the tonal when he wrote the night bus scene in Harry potter. Aliev vs Predator extensively used Aleortical writing. However, it has seems new composers want less orchestral and synth base music. I can see how this works (sort of). But it would not work in every film. Nor will the audience like it. Audiences who attend operas, ballets, and musicals desire the traditional sound: a rich orchestral score. Synths will only work to those who never listen to that.

Hello @PeterthePapercomPoser! Let's see, by "technical composition," do you mean things like deciding beforehand to resolve to a major chord here or using a diminished chord there to create a darker mood? Or perhaps composing using mathematical formulas? In any case, I personally feel that it’s best to use whichever approach fits the moment. For instance, even when inspiration strikes, I often fail to give it shape because I lack the necessary skills. At times like that, or when I have no inspiration at all, I’ll compose based on technical principles instead. Sometimes that process sparks a new idea, and the reverse happens too. Of course, if you consider a technical breakthrough to be a form of inspiration itself, then we’d really need to clarify our definitions, though perhaps this isn't the place for that. Sadly, I’m not a gifted composer, I just do it for fun, but I enjoy both methods because each is important and has its own unique appeal. Personally, I find it satisfying when I start with technique and end up creating something that matches what I envisioned. (And sometimes, creating something unexpected too!) Best, Lithl.

It's not really meant to be a prelude—it's more of a composition example for writing an étude-style piece, intended for educational purposes. Haha.

🤩 Nessun dorma from Turandot - aria from the final act of Puccini's opera - Rendition by Mavell "This rendition in NO WAY uses any kind of ai" Nessun dorma from Turandot - aria from the final act of Puccini's opera - Rendition by Mavell.mp3 Nessun dorma from Turandot - aria from the final act of Puccini's opera Rendtion by Mavell.pdf Nessun dorma from Turandot - aria from the final act of Puccini's opera - Rendtion by Mavell.mid

What prelude is it?

An interesting question. I think that, nowadays (or for the past few decades or so), even as a professional composer, it is almost impossible to develop a unique, new and personal style. I believe very few in history were like that. Bach, Wagner, Debussy, Schönberg… in the 20th century there are perhaps more: John Cage, Messiaen, Bartók… But there are other composers of equal or greater calibre who did not introduce ‘revolutionary’ new ideas, yet who took the music that was developing at the time and made it evolve and grow. These composers also have highly recognisable personal styles (Mozart, Beethoven, Verdi, Puccini, Brahms, Chopin, and many more). We currently face a ‘problem’: we are familiar with a vast number of musical languages and systems that emerged in the 20th century, and there are many of them. I believe that, nowadays, a composer must be eclectic and must be familiar with as many musical languages as possible, drawing from each the elements that suit them at any given moment. The ability to combine all of this is a sign of a composer’s maturity. Very often, we stick very closely to a particular style, or even a particular composer, and write pieces by imitating them as best we can. That’s fine, but I don’t think that amounts to developing one’s own style. I see it as absolutely necessary, especially for learning purposes. Regarding the second point you raise. It’s true, there are a great many widely used techniques and other things that software programmes cannot do. Although they are gradually incorporating them. Of course, I can’t see a DAW or an editor handling random elements. The notation for this has been sorted out, but the software-based performance cannot be random.

When it comes to personal style, as a composer, it is hard to describe what that style would be. Yes, I compose ensemble pieces (rather solo or chamber) or full orchestra, too. However, period style is not going to be same. The term best fits me is "polystylist". This means I could possibly write in different styles. For instance, my Halloween piece was written for string quartet but the style 20th century. (note; I could have written a serialism written for that competition...). Currently, I working piece that sounds neo classical for the next competition. Joe Hirashi was the inspiration for the piece. My personal taste is open book. Heck. George Leigti works are always fun to listen to. And who does not want to listen a post tonal composition that has clusters and other modern jazz. :) The problem is...midi can not play back alerotical boxes and clusters. Only live musicians can. Thus, that is what trying figure out, next. How to have play back in score. (maybe use a daw?)

I doubt you'll get much of response to your post, primarily because of the INDOCTRINATION taught by schools and possible University's too. However,once you've had enough of that DOGMA , you start to "FORM YOUR OWN IDENTITY" which of course will be Obliterated by the masses . "You must Conform". Music that can create EMOTIONS | Urgency - Terror - Fear | & | Euphoria - Joy - Charisma | will stand a much better chance of being remembered and Respected. This is just my opinion you don't have to agree with it, and i doubt if the majority will. An example of a "SOUND" that caught my attention as a Child.

This is genuinely creepy! I love the lofi mixed with the distortion, soundscapes and panning. And those scraping sounds.......this belongs in a horror or thriller. Great crescendo at the end.

It has recently come to my attention how some composers approach their music-making very technically - labeling chords, roman numerals, showing modulations etc. But this kind of approach is very much the opposite of how I write music. I studied all those technical aspects of music as well of course. But how I make music now is very much based on my gut feelings and intuition rather than technical rules. I am still tangentially aware of all those technical aspects of my compositions of course. But inspiration, for me, comes first and the technical understanding, after. How do you approach composition? Which approach do you value more? Technique or Intuition? Which comes first and which is secondary?

Thank you very much for your thoughtful feedback. It was incredibly helpful.

Hello @tymeomm Below you will find my review of your 1st movement. Slow introduction: If the viola is carrying the theme, then the harmony has to be above that. Ergo, instead of having 1st and 2nd at the same register as the viola. They need to be at higher register. Possibly starting G4-G6 could work. Not to high or it would the violins would not match the timbre of the viola. Also, you need to ensure, you have chord members between parts. :) I know some of these stops could possible. But i am not sure but others. One thing to take caution: beware of writing parts that come across that appear as div. (see b3 and b4)! The tonal sequence from the viola part is wonder. It is wonderful theme. Transition: I feel that you could built more momentum if could continued the sequence from the introduction with scalar passages while bass has that pattern either play pizz or another tech. Exposition: I am sure about the different tempo that occur throughout. Typically, you want to stay with one tempo, especially in the classical-romantic period. In the 20th century, where music was atonal, then it was more acceptable to use either change meters and/or tempos. Great use of borrowing material from the intro to create your musical theme for the exposition. The PT is well structured. At 87-88 that is cool effect how 2nd plays above 1st violin. That creates interesting color with in the ensemble. :) The MC lands nicely after the transition. However, I do not think you need what comes after that. A great solution is either pause after it then start the second theme or start theme right after it. Development: This section is written well, I think. Recap is solid, too.

Right. I’ve always thought that, from our current perspective, it’s great to be familiar with all kinds of earlier systems and languages, including, of course, those of the 20th and 21st centuries. And that these foundations can be used however one wishes. Sometimes it’s good to try writing in the style of Mozart, or Debussy, or Webern, and so on… Especially when you’re learning. But when it comes to composing, I think you have to give free rein to your creativity and use elements from the systems that resonate with you at that moment. Lately, I’ve been delving a bit deeper into Stravinsky’s rotational matrices from his later period, and I find them fascinating, so I’ve incorporated them into some of the pieces I’m working on. Best regards.

Thx im really glad you enjoyed the piece. Yea i think im just overly cautious about making my composition the nest it can be which includes readability. Also this isnt my first 12 tone piece ive written several and id consider myself a 12 tone composer. Yes I do break certain guidelines as I let my ear guide me as I compose and structure the piece on the piano. I recently composed a piano piece which is more traditional, influenced by Webern, and Dallapiccola.

Hello I’d like to comment on the first piece. I think it’s a very interesting, beautiful and original work. The impression I get is that in some parts it’s as if you had two separate works (the choir and the string quartet). In the first section (which is then repeated), some of the lines played by first and second violins become very active and chromatic, and either get a bit lost, or I don’t feel they quite fit together. I think section B is more balanced in that respect, as the strings tend to underline or accentuate the melody more.

Hello Firstly, I’d like to say that I think it’s a brilliant piece and I’ve really enjoyed it. I’m just as drawn to modern languages as I am to the classical ones. As for the notation you’ve suggested, I think it’s fine as it is. In this context, as long as it’s clear, whether or not there are enharmonic alterations is a secondary consideration. I’m not sure what your intention was with this piece – whether it was to draw closer to the style of expression of that Second Viennese School, or rather to use a highly chromatic language in your own way. I say this because, although the absence of stable tonal centres is evident, the way this quintet is written departs from the typical characteristics of expressionism. Things that I believe are not characteristic (and I’m not saying this is either better or worse): the use of ‘homophony’, of several parallel lines—some doubled, others at different intervals. Expressionism, when it employs chamber ensembles, is essentially contrapuntal and pointillistic. There are sections that have that effect to a greater extent. Composing within this system is by no means easy. Many people think you simply take a twelve-tone row or whatever and start placing notes, inverted rows, retrograde rows and so on… But no. The tricky bit is mastering the language to the point where you know exactly what you’re doing, primarily to control the moments of tension and release. Furthermore, cadences – not understood in terms of the functional tonal system – are also important.

Hi @Martynas123 ! You expand each phrase of the Diabelli Waltz with different variations so it's not just one variation there! I would rather use each of the element for one whole variation instead of using 3 different elements in the same variation. Thx for sharing. Henry

Hi @elmarad40 ! It does sound chaotic and dark to me esp. with the vocal line. I would want the ending to be more affirmatively dark instead of just ending halfway in D minor, probably 1 more climax before ending with an affirmative perfect cadence in D minor. Thx for sharing. Henry

Hi @MinGry ! I will continue with my comment. In the 2nd mov, there's the same issue with modulation as in 1st mov, which is you don't have the dominant preparation for the new C major before getting into the key in b.15, as mere repetition of a key doesn't signify the modulation. The harmonic progression for b.16-23 is I-V-IV and then back to I, which is not in the style with the V followed by IV. The IV will be better substitued by a ii-V. For the 3rd mov, the rhythmic drive is nice. B.12-15's bassline and b.68-69 RH have too many parallel fifths which will be out of style. The contrasting G major passage can end in perfect cadence before going back to tonic C major. Thx for sharing! Henry

Hi everyone, This composition that i present here is small in duration 1:30 minutes. It is called "Spiral Into Darkness". It is based on a new composition that i wrote firstly in the piano. It has many dark themes and melodies, which with the usage of choirs sound ethereal and otherworldy. There is also usage of percussion in an avant-garde sense. You can imagine a dark passage with a spiral staircase leading to lower and lower parts, which reflect the inner fields of the listener. I would like to hear about your opinions about it and your reviews. Spiral Into Darkness Thank you, Lampros Marantos

I've also read from several orchestration books that the lowest register of a double reed instrument including oboe, English Horn and Bassoon are all more difficult to control, and it's much more difficult to play lower than mp in the low register. Given the ethereal mood of the piece I agree with your treatment to use English Horn instead of 2nd oboe. Also I think it's quite common to have at least 1 Englisn Horn in every orchestra so I think that won't be a big problem in practice. Henry

Hi Mark, I always used to write lots of material for low oboe; but have had it repeatedly drummed into me that I should use English horn instead. So it's interesting you disagree. There seems to be a very widely held view that the lowest notes on the oboe are too obtrusive, especially in the hands of an amateur musician. I've heard this from the conductor of the orchestra I work with, as well as my tutor, and a bunch of other composers. Anyhow, I'll bear in mind what you say for the future. Alex.