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This score was conceived on the idea of building a chord using an interval pattern built as: Root (Any note) > Perfect 5th > Perfect 5th (from the prev. note) > # Semi Tone > Perfect 5th. I found that this gives you (X)min9 every time, regardless of what note you start it on. But built with intervals like this gives it a very wide, open, airy, ethereal sound that I just couldn't get enough of. Additionally, there is some personalized nuance included in the direction and theming of this piece, that is intended to depict a feeling of melancholy, mixed with a sense of hopefulness; It tells a story of losing one's purpose within their life, and struggling to find their way back to a specific goal again. I am having a difficult time sticking myself to a certain structure/form, and struggling to find more direction as to where this piece could go... Any suggestions or comments are highly appreciated :) 32468483.mp3 Aurora.pdf

Thank you! I'm glad I was able to capture the intended mood of the overall work. Found the pattern while messing around on my MIDI keyboard the other day, playing with spitfire LABS VST3 piano sounds. Also, if you've seen any of my other works, you'll notice I tend to have a bit of favoritism for open-spelling chords & triplets / tuplets in general. 😅 I like the suggestions for the form, here. I sort of just allowed my ear to guide it up to the point seen in the post. If you have the time, I have an entirely different conceptualized structure written out in a separate score file, that was inspired by some creative liberty granted to @MK_Piano while in a discord call the other day. I will share this new info right here: Aurora-UpdatedVersion.pdf Aurora-UpdatedVersion.mp3

This original piano piece has very simple chords and melody, with the goal to create a soft, intimate and peaceful mood. Yet also with some underlying uplifting feeling and emotion. Simple, with 'stirring' quality if you know what I mean. Hope I achieved that. Let me know. 2019: This is an improvisation I made in 2019, recording live into my DAW without following the DAW metronome. So I had it in midi but measures do not follow a metronome beat. I couldn't record to a metronome anyway because there is much intentional rubato in this piece. 2026: Now I wanted to use a better piano sound and that was easy- just play the midi file with a good piano vst. The piano you hear is the UVI Model D Piano vst playing the original midi file I improvised in 2019 (with some minor note improvements) However what was not easy is creating the score! Which requires quantized notes. So I had a lot of work remaking every measure to have midi notes quantized, not for playing, but for the score. So the score does not play the piano but does show the accurate notes of the midi file that is playing the piano. Comments and suggestions welcome! score available for purchase at: https://www.sheetmusicdirect.com/se/ID_No/1956655/Product.aspx Follow score pdf:

Your charisma is noteworthy 😀 Also... I got a WWE Intercontinental championship belt from the last competition. Winner gets it... but ask Peter, he has it.

I am shocked that you said you are not an orchestration expert! You definitely are an expert for me with your ochestral works posted here! Henry

I am not an orchestration expert, so everything looks very fine to me and is well orchestrated. For the cymbals parts it’s best not to choose a decrescendo on an attack since the decay is already a naturally happening phenomenon. Other than that, I like how the brasses used throughout what you have provided.

liebestraume-no-3 un orchestra.pdfUploading Attachment... I know it's been done before, but I really wanted to try making an orchestral cover for this btw I'm aware that player and tempo markings are a lil weird here, mainly the lack of div. unsi. and player marks for the winds and brass at times, I just didn't bother writing that, as this isn't going to be preformed. feedback would be appreciated :P (unless you're gonna tell me the climax comes too soon, I KNOW) liebestraume-no-3 audio.mp3

On my birthday, I will be in Poland, (again), so I decided to post this impro earlier! Allegro, Rondo. Adagio. Scherzo. Finale. 4 movements on Happy Birthday.mp3

I very agree with your approach to create a new piece having a musical idea in mind, if not yet a melody or motif to be used as the main subject, but a rather „technically“ one – here your choice of the interval pattern you described. Even if you did not invent a new chord or a new scale, this is a unique, this interval pattern is a „unique selling point“ of the piece and creates the mood of the piece which is indeed „ethereal“. And with your realization and recording so far, you have really caught this melancholic feeling with the warm timbre of the cello and the soft piano. I especially liked the small details such as the grace notes, the arpeggiated two-note-“chords“ and the triplets. Now, to get the piece continued and finished, I think it’s time to think about the form. Since it is already lengthy and although it has just separate sections, the listener is somewhat lost not exactly recognizing the structure and find out where the climax is. And in that sense it becomes a bit repetitive because there is a lack of contrast to the overall calm and „airy“ mood. Therefore, I would suggest to consider to put the piece, for example, in Rondo form where you could use the existing material for the different A (or A’) sections and there were room to introduce sections with a contrasting mood (in the B and C sections). For such a contrast I could imagine passages with a more dramatic expression or a final, triumphant resolution. Another possibility would be to have a section with a more distinctive and memorable melody (e.g. a „real theme“).

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!

Hey @Alex Weidmann ! I love this orchestration - you've included lots of clever voice exchanges between the flute, oboe and clarinet that really create a kind of klangfarbenmelodie out of Mendelssohn's original piece. So great job there! I personally like your choices of pitched percussion in this piece - in my opinion the xylophone has too sharp of an attack and brings to mind Saint-Seans' usage in the Danse Macabre where it very effectively symbolizes the dancing of the skeletons and percussive effect of bones hitting the instrument instead of mallets. Vibraphone and glockenspiel are much more mellow and sparkly (respectively speaking) which I think is appropriate for this piece! Thanks for sharing!

In what? We haven't decided what competition we're going to hold yet! LoL

I'm in.

@MK_Piano I am a pianist, I've played the intro for this piece, but I haven't gotten around to play the full thing, as I've only been playing for around a year, so it was a bit much for me.

Excellent Rendition............Just like the Real Thing.

Yes, but not yet as I intended. To clarify my ideas, I have attached a version of your latest score with some annotations. I see that you have marked the notes where the other hand takes over. But the markings (m.g. and m.d.) aren’t very helpful for sight-readers, since the note is still written in the “wrong” staff. Sight-reading is about reading chords and intervals—not individual notes. Whenever a note of a chord or interval is written in the “wrong” staff, the recognition pattern that a sight-reader normally uses to identify a chord or interval is inherently lost, forcing the player to identify a single note and add it to the chord/interval being played, which slows down the process. Consequently, such situations require practice and/or memorization, which contradicts the approach of sight-reading and playing the piece “without practice.” Therefore, I very appreciate scores where the chords/intervals are notated as a complete pattern in that staff where it is to be played by the respective hand. I must admit, that such a score looks sometimes a bit „cluttered“ because of the „kneed beams“ and sometimes cross-staff note stems (producing sometimes problems for the collision resolving with dynamics, slurs etc), but if the player finally makes the respective annotations by hand in its score, the readability is reduced, too. Please do not take my comments as personal criticism of your score; rather, they are intended as general advice or as basis for discussion, since I often come across scores here in the forum—even from very experienced composers—that, while well-suited for analyzing voice leading, leave me with the uncomfortable feeling: “Has the composer ever played this piece himself, and did he pay sufficient attention to its playability?” AnnotatedScore.pdf

It saves on every keystroke while you compose, it's like Google Docs; you can just download your midi file. But if basic composition isn't working for you, it could be a browser bug, so if this is the case, I would need more information about your browser. I've tested Music Jotter with Firefox and Chrome, and it should also work with Safari. Here's another trick...as long as your composition plays back, you know it has been saved, because saving your midi file happens before the playback compiles (behind the scenes).

Hey guys! So over the weekend I composed the first movement of my composition “Philly”. This first movement takes place is the serene and turbid wold of north western Philadelphia. I remember as a young child living there and walking in the cloud scaped hills, as well as getting lots of donuts and pickles during the weekend. I hope you’ll look into my composition and give me feedback. I’ve already submitted it to a few ensembles which I doubt will perform it but eventually I’d love to get it performed by an ensemble in Philadelphia. Take a listen and a look! Audio: https://drive.google.com/file/d/15NoNQ7O-ghsDeWHVtaEqCI8skRZ8HZYA/view?usp=drivesdk Score: https://drive.google.com/file/d/1ri86LSqV7lzbPePIhvZUfSWYBEHnRsw6/view?usp=drivesdk

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MK-Piano .... Thanks for the annotated review .... ! This is a lovely post-romantic work ..... e.g, Howard Hanson. Mark

the third piece of this set, "crazed capybara", performed by Pavle Cajic: https://youtu.be/jCbbFmt-lDg

Artificial Intelligence Symphonic Composition ARTIFICIAL INTELLIGENCE SYMPHONIC COMPOSITION.mp3

Thanx Vonias...but for me....ai is a "secret serial Killer"

"Jesus was Born this Day," is a hymnal song that includes, Euouae. Haven't heard the amen since the medieval times, thought I'd bring it back to present. The chords are adventurous and don't make much sense. However, this was the palette that I wanted for artificial intelligence to include. AI, did pick up the tune very well, except for the Euouae that was wanted for Descant. Anyone know how to do that in a prompt for AI? I'm out of ideas, I even used the braille's "In accord," to get AI to pick up the command. Other than that, the chorus was botched to good effect, read as the melody after a vowel chant. In effect, AI made a new chorus. Overall, the song is represented well, and I am happy with that. Enjoy! Jesus Was Born this Day_Harper.mid Jesus Was Born this Day_Harper.mid Jesus Was Born on this Day (David Harper) - MSMT.mid

Thank you, Interlect! The same to you! Be sure to check out my website if you want to make some notes spiral out of control in music: www.atonalfugue.net

This would be cool under the bridge with the sound washing, laser lights and everything. Very cool.

A short song I wrote in two days. Do you guys have any critique on any "breathing issues" that may arise? Also do you think it ends too abruptly, or is it okay for a short piece? Though it's mostly classical, do tell me if it works in your opinion. Note: I usually sing my own songs if I can--but this one was way too difficult for my cigarette-smoking, untrained throat to handle XD. So I used an AI-based vocaloid sort of. (Yeah, I kind of feel guilty for using an AI vocaloid, but everything else just sounds so trash, I wanna tear my hair out. Sorry ;_;)

Well, that is very nice! I just stumbled on it; I've been more in the keyboard forum since March 15, the ides of March, for some reason.

If you like that ...you might like this: Scoring to Film, can be an inspiration Booster, and Of course the Title theme name,and transitions, can be changed accordingly.

Imagine being in St. Olaf Choir, a pretty decent college choir, and having to sing THAT for anyone's birthday...☹️ The St. Olaf Choir - "Ehre sei Gott in der Höhe"

Well, Beethoven practically loved "God Save the King." Best national anthems I am familiar with are the Russian and Canadian. Oh yes; Haydn's Austrian/Nazi/German anthem. Gott erhalte Franz den Kaiser [Imperial anthem][+English translation]

It becomes catchy quickly. I can't sleep after listening to it 15 hours ago.

Wow yes, absolutely! I have done some shorter text-based scores before, often with a lot of improvisation and have often had these sort of textures in mind, one way or another... But here's a question: How do you approach form or the overall arc of the piece in this process? Asking because it is something I often struggle with myself. -P

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

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

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.

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!

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.

Love that!!!

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.

Rachmaninoff? Look at my piano writing! Naw, I keep it simple. Great pianist/composers can write that "busy" stuff. Thank you for the compliment: I LOVE Rachmaninoff.

Thanks! (P. S. On the first beat, second bar, it should be tonic mode on the bass, and also, are you rachmaninoff?)

Thanks for the comments! I must admit, nothing was intentional 😅. If I recreated a theme, then it was purely by coincidence. The most obvious one to me is the Mendelssohn D-minor Trio main theme. I didn't mean to use the same opening intervals, as I originally started this work at 1:00am and was just feeling the half-asleep burst of creativity do it's thing lol. I personally used Khachaturian as my basis in the Development section. It did only take me three days to finish and once I settled on the Rondo form, I admit I just took the easy way of CTRL+C. This said, It did give me inspiration to do more with the whole theme, and I did sketch out a way to make this a three movement suite. "A Suite for the Dead" would be the WiP title. When it comes time to ship the finished product, I would want to reorchestrate a majority of this work. To be honesty, the more I listen to it, while as catchy as it can be, it gets stale outside of the harmonic changes. The more I grow as a composer, the more I have the feeling I can do more with this work too. Thanks again for the comments and I would love to chat in more detail about it sometime.

Hey @MichaelJohn ! What a harmonically rich, bittersweet piece! It's full of longing and emotion and full of tons of creative harmonic choices. The harmonic identity also seems kind of ambiguous to me. The piece clearly starts in D minor and that's corroborated by the key signature, but you end in F major which is a nice hopeful ending! But I actually feel that most of the piece is in G Dorian. Very interesting - and you use plenty of F add4 chords which I really love the flavor of as a kind of backdoor cadence into G minor. Thanks for sharing this gem and I am grateful that you managed to create a good looking score as I really was able to appreciate the piece much more and deeply with the score. Thanks again!

Happy Birthday Free Sheet Music by Anon for Piano/Keyboard | Noteflight Your piece sounds interesting from a preliminary perusal...one would need a gun to make me write variations on Happy Birthday!🤣

Vonias Wonderful composition, so lovely and spiritual,and the vocal choir is Amazing, the sort of sound you hear in Big Films Iv never heard any thing like this ...thankyou ,and i wish you every success in life.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8.5 9 8 8 9 10 8 9.5 This gives me a spooky romantic vibe. Perhaps lost souls on Halloween trying to find love or meaning to existence. It's very enjoyable to listen to not only because of how emotional this is, but because this type of harmony resonates well with me. Furthermore, I find this piece to be well structured, and easy to follow. I love how you break up the momentum at around 1:20. As a YouTuber, I learned that this is incredibly important to do on longer videos. Especially with the the shorter attention spans these days. Melody and Motive + Harmony: I just find these to be very clear throughout your piece, with logical breaks and great emotional supporting harmony. Form and Creativity: Highly structured, easy to follow. Score presentation + Playability: Beautiful score and this seems very playable. Execution and Taste: This is a highly romantic piece that does give off Halloween vibes, and I resonate well with this style.

Probably my best/most expressive work so far. I would love to get a feedback on this!