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The two staffs is a neat thought, but try out a single staff. There's a few moments where the higher or lower bits are on the staff that isn't higher/lower (Mostly thinking about measure 25 but it happens a few other times that aren't as easily solvable) and it just feels off. It would also solve a lot of issues of notes that are on both staves, which I would have no idea what to do with if I were to have to play it. As for if it's playable, I am no expert. But I can say that a lot of it looks suspiciously like you just threw in the 6 notes you needed and didn't think too much about fingering. Which, to be fair, is also how I would do a sketch. If you can, you really want to find someone who plays guitar and run it by them. Eveen having them just take a quick look is incredibly helpful (I know from experience). I've linked a pdf or two from when I was assigned to write a guitar piece so that you can also hopefully use them. (They are attached and are very helpful as someone who has never touched a guitar) As a piece itself, I like it! I am frankly not a great critic on pitch collection or form, but overall it sounds nice!

87053bd8f2cb48d184ee054407d37bb8.mp3 Any and all feedback is greatly appreciated. Please note that some of the grace notes are written like they are due to a better playback performance. Any advice on what the genre is? When it was just the first piece it was a Bagatelle, but now I’m not sure

I made a multitrack recording of this piece too, if anyone would rather listen to that. You do have to listen to me, an alto, singing the bass line and then pitching it down a few steps using GarageBand, but it works, more or less!

This piece is for a concert later this year. Just started on it tonight, and it's the first time I've written for guitar. So I'm sure it's probably unplayable! N.B. I decided to use two staffs to make it more readable. Think it would look very cluttered on a single staff.

@PaavolaPyry no one knows how to read a CSound score, so don't feel bad.😁 But, basically what it does is create a series of instructions that the computer interprets into music. You bring up an important point, the use of parallax. So, when you ride in a train and see objects passing in 2 dimensional space, you see the objects closer to you move faster than the objects in the background. Music, can create this sense! The concept is simple to have a melody, or fugue in the case of "Seraphim," move faster than the background ambient music. The music is very discomforting, I'll admit, but CSound is such a new medium that anyone is throwing all they have at it to create a composition. It's come a long way since beeps and boops. The fluid design of the medium, large amounts of oscillation, and sound manipulation are what draw many composers to the medium. Here is my first CSound composition: Notte Splendida Notte | Astronomy 2009 It blends the opera singer with the medium to effect, icy cold with the passion of the voice in creating a composition. It's a little easier to listen to.

skip to 3:30 if you get bored of the vibraphone intro lol

Wonderful! I listened to the song twice, both versions. The things you are worried about are all part of the mastering process. I wouldn't worry about those things until you are in the studio, where you can adjust the values meaningfully. Obviously, you'd want the voice part at the front and easier to listen to. The song is not boring, it's pretty close to perfect. If you want more, I'd add a 'B' section that changes key. Great melody!

As usually @Henry Ng Tsz Kiu piano emotion depth is enjoyable. You can hear phrasing, dymanics, and thematic material that pianist would create using their emotions.

I think we are discussing more on the authorship when a composer is REALLY the one who composes the work themselves. As long as the AI doesn't interfere with the composing process it should be allowed, so AI programs like Cantai or Note Performer are no problem at all. Henry