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Thank you very much dear Henry. I hadn't seen your beautiful comment. I really appreciate your feedback which shows an attentive listening to details. Unfortunately, I lack the time to participate more in the forum but I will try to keep myself a little more informed of the news. Thank you again!

Hi @JorgeDavid, Below is my review of your waltz: Form: There are two district different sections that have their own character with the composition. The tonal centers and relations between is not common. I feel this would fit with in middle romantic period. I am not sure about the dramatic pause at the end of melodic phrase. It is rather sudden and jarring. It disrupts the natural flow of piece. Harmony and texture: There is a high sense of chromatism with in waltz. I wonder about how those harmonies are prepared and resolved correctly. The bass line fits with in the standard waltz type pattern in first section and breaks away in the middle section. Thematic material: A couple things to note: the ending of each melodic phrase with chromatic note seems unsettling. G-F#-A. While there is a sense of melodic sequence with each phrase, it is hard to detect the general structure (sentence, period, or hybrid). This was original piece and was truly creative. With in my musical taste, I like to hear more music like this. I.e. find a way to create a natural flow with each phrase. think about what I said about structure and form and how the works with the underlaying the harmony. Otherwise, you good start. Kvothe.

This is really lovely! I especially love the melodic ideas. However, I agree that it feels a little repetitive at times, particularly before 3:22. I listened without the score, so I can't give much feedback on the harmony itself. From a listener's perspective, I think the piece could benefit from a few more changes in texture here and there. Nothing too obvious, so as not to disrupt the contemplative mood. For example, I really loved the change of texture at 3:22. More moments like that, might help reduce the sense of repetition while still maintaining its contemplative flow. In particular, at 1:52, I found myself wanting to hear the melody an octave higher (perhaps doubled in octaves). As it stands, it presents a variation of the main theme in the same register, and my ears were asking for a change in tessitura at that point. This is really beautiful and an orchestral version would be so beautiful too! Orchestrating it would also give you lots of chances to add variety with the instrumental colors. Thanks for sharing!

Hi everyone! I composed this short waltz for piano today. I'm still practicing it, so for now I've used the sounds from MuseScore 4. It was inspired by Tchaikovsky's Album for the Young, Op. 39. The opening melodic motif is quite similar to that of No. 8, "Waltz," and I also used some harmonic progressions that I learned from No. 14, "Polka." While studying and practicing pieces from that album, I started wanting to compose several short piano pieces and create my own "Album for the Young." This is my first attempt. It is a waltz in B-flat major, although the tonal center shifts around quite a bit. The form is ABA', with A being the main waltz theme and B a slower lyrical brief section in Cmaj. As always, every feedback, comment or suggestion is more than welcome and hope you enjoy it! Thank you!

Hello everyone, My co-founder and I have spent the past while building Ivory (https://ivory-app.com), a tool for converting piano recordings into editable notation, and I wanted to introduce it here because this community is exactly who we built it for: people who compose at the keyboard. The problem we set out to address is a practical one. Composers who work at the piano routinely capture ideas as audio , a phone recording, a quick DAW take , and then face the slow task of transcribing their own playing by ear before they can develop the material. Manual transcription of dense voicings, fast passagework, or pedalled textures can take longer than writing the piece itself. Ivory is built specifically for that step. What it does Converts a piano recording (MP3 or similar) into notation in the browser : nothing to install. Uses a model trained specifically for piano, rather than a general-purpose audio-to-MIDI converter. Produces editable output, exportable to MusicXML (Sibelius, MuseScore, Dorico), MIDI (any DAW), and PDF. The intended workflow: record an idea, transcribe it in Ivory, then export to your notation software or DAW and compose from a working draft rather than a blank page. Why we focused on piano Piano is one of the harder instruments to transcribe automatically: overlapping voices, sustain pedal blurring note boundaries, fast runs, and up to ten simultaneous notes. General-purpose tools tend to struggle with exactly these cases. By narrowing the scope to piano, we handle chords, fast runs, and pedalling considerably better than the broader tools we benchmarked against. Honest limitations Piano-focused , not intended for full multi-instrument or orchestral arrangements. The output is a first draft; expect to correct some rhythms, re-bar passages, and make voicing/enharmonic decisions yourself. Free tier is capped at one minute of audio per transcription (unlimited number of transcriptions) , enough to evaluate properly on real material. We would genuinely value feedback from composers here, both on transcription quality and on how it fits your existing notation workflow. Happy to answer questions in this thread.

Another slightly longer quote from "Flow: The Psychology of Optimal Experience" by Mihaly Csikszentmihalyi:

The notes are the same for M-I-C-K-E-Y lol!

I share with you a very short musical quote from the book "Flow: The Psychology of Optimal Experience" by Mihaly Csikszentmihalyi: For the sake of convenience I have drawn up this little pattern in Musescore: I personally tend to tap out Bach's Invention No.8 in F major (at least in the right hand only) if I find my attention drifting. And if you've gotten this far, thanks for reading!

Hello Everyone! After a brief hiatus from the forum for a much needed vacation and music-recharge, I am back home and beginning to try out new ideas for chamber pieces. I have written a lot of music for large ensemble and wish to dial it back down to chamber and solo music over the course of 2026. The first part in this is to showcase an idea I felt passionate about a few weeks ago. As I began to write it out this week, I feel the flame has kindled and I may not finish/ expand upon it later as I have a lot of ideas I want to explore now in other places. This Fantasie is not as extensive as the classical and baroque styles, however it's a fantasie in the sense of my improvisation with the string quartet. The only thing I wrote down was the first four bars of melody, everything else was what I made in the moment and over the last few days. Let me know what you think and as always, thanks for viewing this post! AUDIO-Fantasie in F#-minor.mp3 SCORE_Fantasie in F#-minor.pdf

I've revised some things - any feedback? String Quintet No.2.pdf

Likewise, @Gregory !

A lovely piece. I like the relative simplicity of the composition. A suggestion: given the calm, dreamy, almost ethereal nature of the piece, perhaps you might have tried using harmonics on the violins in the upper register, as these are long notes that are relatively easy to play. I don’t know if you’re familiar with this, but it’s a very effective technique for pieces like this. Almost like a ‘rule of orchestration’, I think the harp should have a note at the very end. Otherwise, the player is left ‘hanging’. Of course, you can write whatever you like. Best regards.

The idea for this composition was inspired by @MK_Piano, after he sent me some footage of himself improvising in C minor on piano. I asked him if I could write something inspired by what he played, and was graciously allowed to do so. The piece utilizes a steady quarter note / eighth note moving rhythm and melody that symbolizes the passing of time during, and the emotional feelings felt in periods of contemplation, longing, rumination, and/or sorrowful reflection. Although, I feel as though it may be a bit too repetative, despite having variation in both rhythm, chord voicing, chord progression choice, including a modulation towards the end. I'm seeking to build upon the ideas I have in this score, more effectively. Any suggestions are welcome :) UnreadLetters.mp3 Unread Letters.pdf

As I said, to each their own! lol I understand everyone has preferences :) I just like the ability to click/drag anywhere I feel I want to, without having to think about it. and for whatever reason, in noteflight, it's very slow to respond to my actions :/ not sure why. My hardware accel. is on in browser, so it can't be a settings issue. I tried to use it for a little while, just couldn't get accustomed to it. What with MS studio's dev team focusing so much on shortcuts/accessibility, and ease of navigation and input, I just simply can't think of another way I'd rather navigate my scores than what MS offers. You do what works for you, though. End of the day, that's the best way for anyone to do it. :)

@Thatguy v2.0 Thank you for taking the time to listen and comment on my preludes, especially with such thoughtful feedback! I really appreciate it. (And an award?!) On piece 4, you are correct, the scales and arpeggios are meant to be in both hands, actually all the way from the 1st bar up to the 20th bar, and mss. 17-20, the L.H. crosses over to hit the chords on the 3rd beats. I should have been clearer in my notation. On piece 5, that's a really great thought to add a "freely" direction at bar 27. This piece is meant to have a pseudo buttoned-up, but actually silly, free-form feel to it, and that kind of marking would fit well. I really appreciate your concern about uploading these separately, but it's ok! Even if they do get less attention as a result. It was very much my intention for this set to be listened to in its entirety, with one piece moving on to the next one, and I'm pleased that it made the set more fun and enjoyable for you to listen to. Your preludes were actually an inspiration for writing them, as well as Felix Blumenfeld's incredible set of 24 preludes. (I don't have it in me right now to write as many as the both of you have! Maybe in time that will change.) Again, thanks for taking time to listen and comment, it's much appreciated!

Hello fellow composers! I wanted to share a short piece I wrote called Morning Meadow. This is part of a broader goal I have of writing short, simple pieces. With this one, I was trying to focus on melody, color, and restraint — something peaceful and dreamlike, but still gently expressive. The instrumentation is solo flute, harp, and violin section, with the harp providing a soft arpeggiated texture, the flute carrying the main melody, and the violins entering later with a slow countermelody. I kept the harmony fairly simple and color-focused, and I was more interested in creating a clear atmosphere than building a large dramatic form. I’m happy with how the piece turned out overall, but I’d really appreciate outside ears. I’d love feedback on the composition, orchestration, mockup realism, balance, phrasing, or simply whether the mood comes across the way I intended. Thanks in advance! Morning Meadow - Concert Score Ver1.pdf

Hello there @林家興 I do agree with everyone that you should bring out the RH. That has foreground. We can barely hear it. Second: Instead of writing out the swing triplets, you can easily indicate that. Two beamed 8ths=qauter-8th triplet. That way, you can notate two beamed 8ths that are not played "straight". When you want to straight 8ths, you can indicate that in score. :) The modern jazz harmony reminds of Gershwin! :)

A very, very beautiful piece. With a touch of Baroque or galant inspiration, I’d say. It’s brilliant that, with relative simplicity and just a few instruments, you’ve created such a dreamy and nostalgic atmosphere.

For navigation, if you load the whole score first it all works out. Space bar to play from your clicked note, p to stop. I really love Noteflight’s compositional flow more than Musescore’s; it’s like 33% faster. Plus it’s online so I can do it anywhere and on my phone. In my opinion, “Gawd” did good things with Noteflight😉

Hi everyone, I'm new to this group and am excited to have found the community. I recently began writing original music for concert band. What feedback do you have for me regrading the piece below. My primary goal in writing March of the Fire Brigade is to learn and get better. My students may end up playing it this next school year as well. Thanks for any critiques you can give me! March of the Fire Brigade

Agreed, this is wonderful! I would bring out the RH just a touch to really let the melody be heard, but this is beautiful. I feel like I'm at a fancy restaurant drinking wine :)

Wow!! These are great! I only wished that you posted these separately, as I hope these pieces get the attention they deserve being all together. I love this one, the drama in it is set up nicely with the climax, and the chord colors are wonderful. Great too, I maybe would have made bar 46 twice as long to really set up the cadence. Beautiful in it's simplicity, I like that you spread out the difficulty in the set, letting some be much easier to play than others. It gives a better flow to the pieces as a whole as well. Part of the arpeggios are in the right hand, correct? I would have notated that in the score. I really like the drama in this, and even though it wasn't my favorite theme, you developed this really well. I like the texture change in the middle. Lol mock serious swagger :D This was super fun! The jazziness was a welcome change after the first 4 pieces. What about marking "freely" at bar 27? Do you want the RH rhythms right on the dot? Or is there an improvisatory aspect you're going for? It might be cool to let the player syncopate the rhythms to go with the steady walking bass. I like that this one broke away from the ABA style, I like the evolving part of the form. like an ABAB, textures markings the sections. I really like those ethereal RH figures with the low bass. Awesome fun! Kind of reminded me a bit of Baba Yaga, Mussorgsky piece. The ffffff is kind of excessive, but I'm guessing it's for playback purposes. Loved this one! Much needed after number 8, as overall these preludes are on the heavier side. It sounds sweeter to my ears after the last one. Ended with a bang, the drama is great here! I must say, that overall I really loved the order of this set. Not sure how intentional it is, but it really made listening to this as a set more fun and enjoyable. Your talent is massive, I wish we heard more from you! Life is busy, but I'm glad you find the time to stop by and share what you've been working on. There's some small editing errors, nothing major that jumped out at me (copyright 2025, stuff like that). Your style is right up my alley, and I immensely enjoyed these. Thanks for sharing, friend.

Hello I’d like to share part of my Humanist (non-religious) Requiem project, in which I’ve set myself the following objectives: To use a blend of contemporary and traditional languages To use texts by poets who fascinate me To write calm, short pieces To mix Latin with English I’m using Cantai for the vocals – it’s not the best it could be, but I’m happy with it. For the instruments, I’m using Noteperformer. Everything is managed within Dorico. It’s an idea I’ve had for a long time, one that expresses – or at least attempts to express – my concerns in this life....... Best regards. Introito.mp3 Introito- The Origin.pdf

I think that's very good piece, esspecialy if you' re a starting composer. Keep going!. BTW how long have you been learning orchestration?

Actually, I was mistaken. The areas I heard weren't parallel 5ths, rather, parallel 4ths. Which are still just as weakening to the overall harmony, in my opinion. places like in measure #51 between the clarinet and flute, for example. (b. 51 Flute & Clarinet) two parts moving at a 4th or 5th interval back to back like that is something to be avoided, as a good rule of thumb, when it comes to composition. (P.S. I've said this before, I think, but GAWD I hate noteflight's navigation... 🤣... Makes me wonder why most, if not all of us just simply use musescore, but to each their own!)