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While I was writing my review on your „Contemplation No. 5“ yesterday, I remembered that I did not reply to your friendly review of my fugue. What I especially appreciated is your imagination that there could be vocals added. And, yes, I also had this intention in mind sometimes to have a version with a choir. Not only because of the anthem but also as I can imagine that some of the motifs are suitable as sung syllables, such as the main subject could be „Dona nobis pacem“ and there is also another motif in a transitional passage which could bear the text „Herr gib uns deinen Frieden“ (which is the same in German). I’ve already tried to record a version with a „Choral oohs and aahs“ soundfont which gives a good imagination how it could sound, but with my current technical capabilities and skills it sounds to boring or embarrassing. However, if I once finished my project composing 24 preludes and fugues and I’m really bored, I could decide to compose a mass – so I had the inspiration of at least one of its movements, the „Dona nobis pacem“ (😊 haha, not considered really seriously now, but who knows ...)

This is something I came up with during my lunch break today. 08 Consolation for Piano.mp3 Consolation for Piano - Score - Score.pdf

Ya! Sure, thing! It's a very long process to create this music. I love the experience of rasterization, the beginning song sounds NOTHING like the end product. It begins, simply: pen and paper. First, compose the song. Envision it as best as know how. Then becomes the fun part. So, I use Finale to create the sound and score file including Garritan instruments. Once I have the midi, I convert the midi file to a CSound score. From CSound, I also create the instruments, usually heavily inspired by, Kim Cascone! He's wonderful! That's all it is! But, fair warning: the process takes weeks. lol

Gotta say, those VSTs you’re using are quite impeccable! Very light, fun, and intricate. Would’ve loved to see the sheet music though!

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Thanks Peter. I've been told the harmonies in the bass clarinet with two bassoons sound rather heavy: so I'm going to modify those when I can get round to it. Will try Henry's suggestion of putting the melody in the violins too, for more timbral variety.

Hello everyone, I'm back, this is my new piece, hope you like it! Op.9 Nr.2 Spring Symphony.mp3

Hi and thanks for nice review. I've found that recording to midi while playing an expressive piano piece without following the metronome creates the best result - a live and expressive piano performance. Because if I perform to a metronome the live feel is lost and sounds digital/computer like. But I WANT what I perform/improvise capture to midi anyway so that I have the performance captured as notes. I usually do not create a score with my piano works because of the work involved quantizing by hand every single measure! The printed score needs to be quantized to look correct, and be playable. This piece took hours of manually quantizing every measure to create a correct score. With my pop/electronic/etc music I do create notes in the piano roll to beats like you do. That type music I want played quantized anyway. But not an expressive piano solo piece that is not to played by a metronome. I should be that indication on the score!

The Wanderer of Time:

Hello @MichaelJohn A beautiful piece with a calm, serene mood which I very enjoyed to listen! I must say that I did not spend many attention – when reading the score – to the harmonic structure of the piece (as Peter did), because I was really captivated and fascinated about the detailed performance concerning articulation, dynamics and tempo! I would love if every piano piece presented here at the forum had that quality. I especially like the accentuation of the melody which is interwoven in the triplets, so that even if the score looks „simple“, I had the impression that were more voices involved as one could think from a short look at the score. I just did not understand completely your comments how you created the score and recording: The recording is a live recording resulting into a midi file which you have now reproduced with a better piano sound. That’s great, so we know that you are not only able to compose or improvise that piece but also to play it in that intense and expressive quality. But what about the „quantized notes“? I can’t imagine what a software would produce for a „score“ from a live recording with such an amount of rubato, fermatas and accentuation … I’m asking such silly questions since my approach to compose is quite opposite. I first write the notes down (even not as a „paper composer“) but using notation software and produce my score and midi files from that input. And, yes, I’ve always the intention in mind how I would interpret it on the piano. Therefore I always maintain two scores, one to print out and one for the recording with a huge amount of additional articulation, dynamics and time changes to achieve a satisfying recording result. And I must admit, it would a hard work to encode that amount of interpretation you gave your piece!

I'll try to listen to more of your improvisation, but to hear that gawdawful tune for thirty minutes...

Yes, now it looks fine! The chords and intervals in each hand can be clearly recognized. I would also decide to have the beam nearer to the majority of the notes and adjusting the length of the stems is obviously driven by the means to avoid collisions with the dynamic marks – what you’ve well done in the example. I have also not read „Behind Bars“ and other standard literature concerning engraving. I usually try to follow my aesthetic feeling which has been taught by the good old hand-engraved editions, for example the Mugellini edition of the Welltempered Clavier (Breitkopf & Härtel) which I use to play from. For my note engraving I do not use MuseScore (or other software with a graphical user interface) but lilypond (which has a different approach, you’re typing the score in a sort of „software“ source code in a simple text file and lilypond „compiles“ it to a .pdf and .midi file). However, that might not be everyone’s preference how to work when composing, there is an interesting „essay“ from the lilypond creators concerning what make it so difficult to let scores produced by computer programs look as satisfying as the hand-engraved ones.

Thanks Peter. Yes, unfortunately that's the aspect I don't have the capability to get right (tonality and enharmonics) so I always write atonally. I'm told I often veer quite far from the key I'm in anyway, so it seems usually to be more appropriate.

The Dance of Swords:

Hi @guy500 ! From a cursory look at the score and a short session listening to the beginning of it, it looks like you're not using the right enharmonic spellings. In the beginning you're in G minor so all your D#'s and A#'s should be Eb's and Bb's, respectively. Then at C you switch to F minor, so you all your G#'s and C#'s should also be Ab's and Db's, respectively (in addition to the Eb's and Bb's). That's just in accordance with standard notation regarding key signature and proper spelling of scales in alphabetical order (like you wouldn't spell G minor scale as G, A, A#, C, D, D#, F#, G because you're missing some kind of B and E in the alphabet). Thanks for sharing!

Love that!!!

Just finished my first String Quartet. I'd love your thoughts on it (constructive, though, please....), but most of all I need feedback on the score. I'm new to scoring (and have no musical training) and so am not confident at all with it. I'm especially worried about the notation around articulations/accents. I'd really like to know how much of it needs to change in order to make it playable by a real-life String Quartet. Track 26 - String Quartet no.1 - FULL VERSION (Jan-Mar 2026).mp3Track 26 - String Quartet no.1 - Score.pdf You can also listen and read the score at Track 26 - String Quartet no.1 (Jan-March 2026) -

My story is a bit different - I started at 52 - less then 2 years ago - with no musical training whatsoever (apart from badly strumming a guitar for a while in my later 20s...). I seem to be very prolific though - my first String Quartet that I've just finished is my 26th piece since July 2024....

To Beautiful not be scored to Film.

I get it! It's a choral arrangement, similar to the setting my college choir used! No need to worry about hand size. I just put it in piano score because I did it in two minutes.

I meant as in hand size.

To Conclude: This Intro-Outro theme, is also being held "ON-ICE"

Both | INTRO-OUTRO | enter-exit concepts, were requested to sound similar for the shows continuity . Both were rejected by MEDSTAR TELEVISION and replaced by the Signature-Sound below. However they were kept on file,with interest regarding a different Franchise in Future productions.

I feel like theme number one fits more of this style. You are choosing the second theme feels like something straight out of a video game and it sounds like more of a medieval battle theme. I see the audio effect of bass boosting certain instruments, or adding some form of distortion, especially on the horns and what sounds to be strings on the melody

Well, not really! And the German title was just for fun; my German is dreadful. It's the extracted organ part of the Sanctus, minus a couple measures, from my Missa Sabrina Fair (a parody mass based on motives from a song by my brother) and it just occurred to me that it makes a decent solo organ piece! Anyone care to registrate it for me? 😄 Well. helps to post the score! Orgelstück in G-Dur Free Sheet Music by Robert C. Fox for Organ | Noteflight