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[INFO DUMP] Kvothe has merit in their critique. There are plenty of truths about music and the most basic one is that this art is here for you to enjoy. Whether it is by music creation, performance or listening to a song, it is here for all humans to express and interact with. This said, we live a society, and there are rules, expectations and trends for us to follow. In the music industry, this is very much true. Most of us here are professionals in the classical/ traditional aspect of music creation and performance, while some focus on more modern productions and performances on the popular stage. When it comes to the idea of having your work performed, the first and most basic universal is to have sheet music ready for musicians to perform. Sure, a studio or individual can only use the MP3 render and call it a day, however, that may not work for all cases. You may hire a band or an orchestra to play the music, however, they too will expect some PDF or printed copy to use. No matter the means, if you truly wish to participate in this field, you must inform yourself on the current practices. Why? Because there is an expectation and standard for music distribution. One aspect often overlooked is the side of copyright and trademark protection. If you have a work performed or licensed, you need to have this protection for widespread use. If you publish the score, it must also be protected. Just because "you made it" doesn't always guarantee it is protected. To tie back in, this is the fundamental point of Kvothe's comments. You cannot just throw a score out into the community and expect everyone to respect it like they would a Mozart work. There are professional expectations in engraving, formatting and document layout. So much so, people may disregard your score if you misspelled an instrument part. Sheet music distribution is under a lot of scrutiny and please do not take any comments about it personally. We are all spoiled by good sheet music and to be fair, we expect to see it... especially if we have to spend money for a copy.

The info dump that @MK_Piano wrote should help you, too. Back in the golden days of hollywood, there was orchestra at hand to play the music for the films. Even before the advent of DAW's. Now, with DAW's what occurs: the composer sends the demo to studio for approval. Then his or her team prepares for the final cut (post production). Orchestration, copyist, ect. Now if there are synths, those are not part of the live recording. If there is one. Dune used synths and custom instruments. Scores today have become more hybrid @interlect. Learn to write well. Take feedback when it is provided. :) Final note: I agree with @MK_Piano on how scores should be presented. We are here to help you. Let us do that...please.

Why hello there, When I was listening to your piece, I heard a compound meter and not simple meter. From the score, you have a simple meter (3/4) with triplets that gave me that me that impression. and Other triplet figures too... Switch 3/4 and replace it with 9/8. you will still have the triplet feel! You might have to adjust some bars to adjust to meter. But overall, you will be surprised... The direct modulation from D-A was a nice surprise. It reminded how J. Williams modulates.

Hi there, The operative word was "could". Does not mean there will be. But could be. And that depends on the budget. Even Indie studios can have live musicians (see silk song).

This is partial correct. However, in media works, there could be musicians involved. Ergo: why not make sure your demo and your score is ready?

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 9.5 9 9.5 8.5 10 9.5 8 8 Average Score: 9

So... Seeing @PeterthePapercomPoser a.k.a PeterthePitifulcomPoser and @Thatguy v2.0a.k.a VincetheVeryVindictivebutnotValiant having their fight, I was enjoying my popcorn aside. But then I saw that Peter’s badge for this year Christmans event is so beautiful… it allured me to write my own Christmas music! This piece is really a joking fugue which uses Jingle Bell and Vince‘s “How the Shopper Stole Christmas” as the subjects to form a double fugue: (We all know Jingle Bell right...)(It’s great to escape from the pressure of the 6 voice fugue of the Sextet Second movement LoL….) I know Vince hates fugue, so I deliberately manipulate his theme with all sorts of fugal techniques to troll him muahahaha!!! I also include some quotations including my own throughout the piece haha. I dedicate the piece to him since I have trolled him haha! However, the more I compose this one it appears to me less of a joke… Joking Fugue on Jingle Bell and my Friend’s Theme Final.pdf Here's the structure of the piece: 00:02 Jingle Bell Section. Includes troll stretto, troll inversion and troll retrograde. Crushed by the Hammer at the end… And we need some help with the “festive mood”. 02:10 Shopper Section: Includes troll stretto, troll inversion and troll retrograde (the same LoL). The bell is repaired at 04:03 so the Jingle Bell theme returns to combine with the shopper theme but appears in minor. Some interesting polyrhythms happen there too, maybe Vince’s prelude style secretly invades. Tension building (but still have time to quote my own work LoL) for the… 05:28 Overly-Triumphant return of the theme which quotes the texture of the Emperor Concerto, another counterpoint of both themes and ends in a learned way LoL! Thx to Vince for this perfect audio! I think there are no tears here this time @chopin and no random pauses anymore I think. Hope you all enjoy this one and Christmas! Henry

Please submit links to your Landscapes - Soundscapes competition pieces here! (Please don't submit your music directly into this thread - rather, create your own dedicated thread where members will be able to review your music there - Upload Your Composition for Analysis and Feedback and then copy and paste the URL of your topic into a reply that you make in this thread). Thank you for your participation! To read the requirements/specifications of the competition and declare your intent to participate go here:

Hello! This piece was one of my favourites to compose, sadly the software that i use to render the lyrics (Cantamus) didnt work nicely for the words: Cricket, Leap'd, Jump'd, Alive, Pass'd and Tra la la. So sorry for that! I hope one day they can update the software and its able to render it correctly! (If you guys have suggestions for free realistic vocal synthesizers i would be pleased to check them!) The story is about a woman and her beloved singer cricket, who sadly has passed. Alternative title (Detto lo) "lament for the death of a singer cricket." Lyrics: I once had a cricket green and strong and he went: tra la la la He leap'd and jump'd and sang, He did not use the common slang tra la la la Then one dark day he pass'd my cricket went away No more music no more dance, goodbye my cricket. tra la la la. I once had a friend that sang for me and he went: tra la la la But now he's not alive, And i still sing in the wildlife tra la la la No money in this world can buy my cricket back No gold coins nor golden rings can buy my cricket tra la la la. Poem written by: MYSELF! mixdown-_1_.mp3

This is an aria for alto, flute, strings, and continuo in the late Baroque style. The text is taken from Goethe's Ganymed, and a sample translation can be found here. The form is binary, with the usual closing orchestral ritornello joined by the soloist.

so deliberately bad and un-Henrian anyway how do you reach major 10ths 🙂 ?