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Thanks for kind words guys! As for mentioned lack of development. I indeed feel like its occuring problem for me. When i try to forther develop a track it becomes too chaotic and sometimes it doesnt sound like continuation of a song but whole different piece. I just dont know how to do it properly. So until i figure it out i decided to stick to simpler repeating form. I shall look into music theory you mentioned Thatguy. Maybe there, ill find the answer how to crack this nut😁. Also im not sure if i understand term sample correctly. if sample means not single sound but premade bunch of sounds put together as one then i never used it. Feels like cheating for me😉 It's funny Guardian that you mentioned video games, because if one day i will be blessed by hearing my music in a game, that would be like dream come true for me, soo after all maybe im doing something right😁 And for the influences, there is alot of things but i guess 5 of the biggest would be: rock/metal, various folk music from around the world, electronic music(Hugo Kant, Neroche and soo on) rock/country(bridge city sinners, builders and the butchers etc) and video games/movie/orchestral (Two steps from hell, E.S posthumus etc) Wish you all good day.

Thanks! Actually, I am doing a lot of these...like using Musescore shortcuts and stuff... oh...I don't have a keyboard...

MP3 Play / pause Reverie Dance 0:00 0:00 volume > next menu Reverie Dance > next Your description paints a vivid picture of a musical journey that traverses the landscape of emotions, from the tranquil whispers of violin solos to the tumultuous dissonance of tremolo passages. The crescendo and climax, with the emergence of distorted trumpets and harp/glockenspiel runs, add layers of complexity and intensity to the piece, mirroring the ebb and flow of a melancholic daydream.

Holy night-and-day-difference! Wise decision to cut the guitar for bass, it SLAPS I'd edit your original post to have it be the most current version. It'd be really annoying for someone to take the time and give feedback for you if they don't notice the update 😄

Dude.... this is sick aF For real, love the ideas going on here. You seem to get stuck harmonically after a while, but I know it's common for this type of music continue to build layers over a set progression or whatever. Branch out with your chord progression, you wouldn't even have to change a lot of the textures going on. Do you know much music theory? That will for sure help, as you'll learn what you're doing more clearly which will in turn lead you to possible ways of extending your piece. Otherwise, learning and perfecting an instrument helps too BTW, stay away from samples if you can, you'll learn much more and get much better building your music from scratch. Remember to poke around on the forums and check out other's music too, you'll find people are very open about sharing honestly what they like and dislike, and you'll get more views and clicks bruh. Welcome 🙂

As the poster above me asked: How well do you know your theory and the craft of composition? If it is simply that you're feeling stumped, or struggling to get it to sound how you want, then this is usually the source. I would also recommend you get a MIDI controller to input notes into Musescore that way if you don't already. It would be painfully slow trying to input it with mouse and keyboard. Your piano trio may go faster if you use a DAW and kontakt libraries instead of musescore. Then, you can just record your piece in real time, and with pianos, you don't have to worry about keyswitches and other MIDI annoyances. Honestly, it really isn't. Especially if your goal is concert/neo-classical stuff. It is better to put out 5 pieces per year that are amazing, then to release 10 middling ones just because you feel you have to hit a certain number. Even from the most iconic composers, only a handful of their pieces are really well known to the masses. In many cases, the composer spent anywhere from weeks to years writing them. Even bands, who typically are doing way simpler music than classical; each new album is a result of 1-2 years (or more) of songwriting and selecting the best ones for the album. Back in the days of record deals, labels would demand an album of X number of songs within a short time-frame, which is partly why "Girls, Girls Girls" is the only decent song on that album. Also, remember that Carl Douglas's only song of note was 'Kung Fu Fighting' 50 years ago and he wound up with a net worth of 5 million. In other words, if no one is breathing down your neck to get this done and paying you to do so, take all the time you need. Lastly, since you say you're in school it's safe to assume you're pretty young: Know that the field of professional orchestral and neo-classical music is not a pursuit for low-time preference individuals; it is mainly an old man's game. I lucked out when I was 18, and got my first professional job, but that is an extreme rarity. Most guys don't see any success (financially or otherwise) until they have DECADES of experience under their belts. So aside from the aforementioned advice, I'd say: Take your time, and just keep chipping away at your pieces. Even 1 bar a day is progress. Because as the saying goes:

I think the idea is interesting overall! The instrumentation is cool and I like some of the rhythmic ideas! My main concern would be the musical "goal" of the idea. For me it seems to loop without any development. As a type of background music to say a video game, I think this type of piece would be a perfect for it! But if it were meant for a more "performance" type of music, then, I would look into how to develop ideas further! As it is, it does not sound bad! I would like to ask, who are your influences and what type of music are you looking to write! Keep going! Also, my ear did not bleed lol

How well is your knowledge in things such as harmony, counterpoint, and form? I would say having a great and in depth knowledge in this topics can help! Also, what trios inspire you, and do/have you analyzed any of the pieces! By doing so you can figure how trios are written, and if you choose to, model your work on those pieces!

Here is a Fugue in C Major that I composed for Pipe Organ. Overall, I think it sounds good, but I am open to any feedback! I am eventually write a prelude for this idea as well! Also, for anyone more familiar with the instrument, do staccato markings make sense for the pedal part of the idea? Thanks!

I really like the piece! Any plans to use this for a suite? It reminds me of Corelli's church sonatas, especially when using the organ as a continuo instrumnent! Initially the trills on the end of the bars, kind of sounded a bit "off", but after several listens they started to sound "right" to my ears!

Step back and evaluate your composing process.. Are you spending excess time, 'finding' the right notes, correcting things? Perhaps set a goal of composing a short piece in a specified time. As an exercise, doesn't have to brilliant.. Progress - not perfection is the goal.. Is there a way you can shorten your process. copy/pasting/transposing sections. If notes have the same rhythm - copy/paste, then fix the individual pitches etc Sometimes as we work to perfect our music, we run into which choice do we make.. And that can take longer then we did when we were younger. Because as the piece grows, we could have taken a better choice earlier in piece, and now we must go back and rewrite something. Now I'm not a classical composer, so there are certainly many issues in addition.. As individuals we each are uniquely different.. If you have perfect pitch, a photgraphic memory. Know a number of composing techniques or devices, it perhaps come quicker. After spending many many years working on music.. I will play a part and then be able to correct what I play looking at orchestra type score, or sometimes just looking at the piano roll. My hands seem to know where to move the notes.. Be patient, it will take as long as it takes. Be on the lookout for guidelines, and techniques to adapt to your work..

Hi all. Have recently added a whole new section to my piece "The Dragon's Quest". Was trying to create a more exciting climax, by using call and response, with rapid changes in orchestral texture and modal colour. The new material starts at 5'42", then mixes back into the old ending at 8'14". I'm still working on the score: so loads of enharmonic spelling errors remain. The pentatonic sections require Gbs instead of F#s, etc... Interested to hear what mental images it conjures up? My vibraphone part is going out of range at the top: so need some ideas on how to fix that? A celesta could cover all the notes; but may not be loud enough against the other instruments playing?

I actually didn’t know that! Thank you!!

Also, particularly for symphonic pieces/chamber music, it really takes a lot of time to write!

Thanks, but as a budding composer, I feel my output needs to increase. My dream is really to make classical music known and appreciated by the world, and to do that I first need to get better at composing. But besides, quality, quantity is also important!

I am probably the worst one who can answer this questiob since I always compose real slow!! I omce spent 6 years on a work even though there were many things happening between. Just keep going and keep in mind that you will finish the work one day! Also I think quality is more important than quantity! If you sacrifice quality to faster progress I am sure it's not worthwhile! Maybe you can listen more music and review more here? It definitely helps your composing! Henry

Timeless Dance.mp3 Hello, i have been learning composition in DAW for about one and half year. Looking for honest opinion about my work and maybe some advice how to improve. I hope your ears dont bleed to much while listening 😅

This may seem like a nonsense question, but how do I compose faster? Ever since school started, I've been really busy and all, but I still really want to compose. I'm working on a piano trio right now, but it seems like I never make any progress no matter how hard I try. Anywhere from shortcuts and tricks in Musescore to changing the way I look at composing, please give me some ideas. I really feel like I could do much more if given more time!

Hey, @Thatguy v2.0, thanks for replying! It means a lot to me. I'm flattered, frankly 😊: I've experimented with writing rhythmic, harmonically non-reliant pieces only once before, so your approval is a good sign I'm (probably) going in the right direction. Rest assured, I'll definitely post more of this piece once I've gotten enough done with it. I had a feeling my guitar writing would be the rank outlier here: I've only ever written for classically-rooted instruments (if barely), and I've never written for guitar instruments before. I'll also consider adding the chord symbols, although I don't reckon it'll be of much use on this particular sheet music: I'll create a fake sheet once I study up on how to make one of those. On a side note, do you think the guitar was an alright addition? I thought the timbres of the guitar didn't really 'mix' with the rest of the ensemble, so I got rid of it in the end. I've attached the reworked version below: I fixed some things up, and I added a (totally obligatory) bass solo at the beginning for good measure. Would love to hear back from you! 😄

It's a smart way of classifying composer by their specialties rather than in general.

I had a similar issue while writing for orchestra, so I get that feeling. You can select the rit. and go to Properties (either go to View -> Properties or press F8) and change the slowing rate of the rit. to what you need. You can start at a slightly slower tempo if that helps the rit. slow just to your preference. If it's not to your liking (or if you knew that already), hiding them works too.

Hi everyone, 😊 I recently completed composing, a rather large symphonic piece, called Quest For The Holy Grail. It is about 28:00 minutes in duration. The theme of the symphony is Parcifal and his quest for the holy grail. The first part deals with the inner perspective of Parcifal, how he has to turn to his own self to fight his demons and his weaknesses as he embarks on his journey. From a spiritual perspective in order to enact his quest for the grail in the outer world, he needs to reach for the light from within to become pure and brave again and be worthy to find the actual chalise. The second part is about his journey to the outer world, where he finds the kingdom to be in decadence and it's citizens are now furious, with hearts filled with despair and hatred. So he journeys through the kingdom, in order to locate the chalise, to bring him back to Arthur and cure him. The composition consists of several music pieces, which are: Part 1: Inner Journey Song 1: Parzifal's Nightmare Parzifal, the noble knight, falls into a deep slumber haunted by nightmares of his impending quest. In his dreams, he sees visions of King Arthur and the impending dissolution of the once mighty Knights of the Round Table. Song 2: Remembering Companionship Amidst the turmoil of his nightmares, Parzifal begins to remember the bonds of camaraderie and fellowship he shared with his fellow knights. Memories of past adventures and the strength of their unity flood his mind. Song 3: Despair of the Knights As Parzifal delves deeper into his dreams, he witnesses the slow decay of the bonds between the knights. Agony and tension grip their hearts as they struggle to restore balance to the kingdom amidst growing despair. Song 4: Wigs of Betrayal The betrayal of Arthur by Sir Lancelot and Guinevere unfolds, shattering the once unbreakable bond of loyalty. The heart of Arthur, and those of the other knights, is pierced with despair as secrets are unveiled. Song 5: Bursting With Fury Parzifal's dreams turn to fury as he grapples with the betrayal and the realization that his quest for the Holy Grail will require him to transcend mortal limitations. Anger fuels his determination to become the chosen one who will save the kingdom. Song 6: Memento Mori In a moment of introspection, Parzifal confronts his mortality and the limitations of his own being. Death looms both within and without, urging him to find the courage and honesty needed to awaken his spirit and pursue the elusive Holy Grail. Song 7: Back To the Land Of The Living Parcifal is now coming back from his journey to the realm of Death and his awakening to the living kindom is a harsh and painfull one. Part 2: Outer Journey Song 8: Light From Within Guided by the inner light of honesty, Parzifal embarks on his quest to find the Holy Grail. Through trials and tribulations, he seeks the chalice from within, following the path illuminated by his awakened spirit. Song 9: The Knights Oath Under blood-red skies, the knights of Camelot take a solemn vow to defend their king and kingdom against all dangers, both from within and without. "All for one and one for all" echoes through the land, a testament to their unwavering loyalty. Song 10: Lost In Between Worlds As Parzifal traverses the wounded lands in search of the Holy Grail, memories of the once proud kingdom and the great vow to restore faith in its citizens flood his mind. Dreams and reality blur as he faces his final trials. Song 11: Kingdom of Decadence Confronted by the malevolent forces of Mordred and Morgana, Parzifal battles to overcome their dark enchantments and stay true to his quest. With newfound awakening, he locates the path to the chalice amidst the decaying kingdom. Song 11: Empty Halls of Camelot Returning triumphant from his journey, Parzifal presents the Holy Grail to King Arthur, who drinks from it and is rejuvenated. A second rebirth occurs as the king is restored to his former self, marking the beginning of the kingdom's restoration. InnerversE - Quest For The Holy Grail Enjoy!

I would assume the string bow, yes. Bowed metals are very common; classic trick to get eerie sounds.

It has been done