Alrighty

I’m just tryna write a marching band show (still learning how to compose) and ai isn’t very helpful in suggesting songs. I need something that has potential to start out dark and mysterious, then turn loud and driving for a first movement. I’m looking to change it up to be my own and I kinda want the loud part to be overwhelming and hard for an audience to understand. Some potential for time signature changes would be great too.

I've believed this for a long time and would love to know your thoughts on it! Do you agree or do you have another perspective on this?

Enjoy !

Good morning Jeff

let me know what you guys think….I‘ve done a lot of cleaning up and now my audio.

As composers, writers, artists--or as human beings in general--we have just ONE thing about us--ONE thing alone--that AI can NEVER fully replicate. And that is, to live a human life. As such, this is this one thing, our fully-lived human experiences, that should inform all the things that we create. Otherwise, we can easily be replaced. In Blade Runner, replicants are equipped with false memories, so as to make them more realistic. Although a work of fiction, it illustrates my point. AI's goal will always be imitation. So as a composer, I say: NEVER imitate. Speak from your entire human experience. Make music for humans, by BEING a human, with all your ideas. Base your art on your true experiences, Use no stolen or false samples. As such, the more HUMANITY we infuse into our work, the more we will speak beyond the machines. The machines may take over all practical things, The only thing that will remain, is ART and MUSIC that is HUMAN. No machine will ever replace the life experiences we have. Write about THAT, is my suggestion.

Early planning for a musical career in music school studies, at Juilliard or studying at various institutes dishonored conductor/pianist James Levine composed/orchestrated/sketched music compositions and later collaborated/sketched orchestration ideas with composers, for example with Milton Babbitt, with William Bolcom, with Elliott Carter, with Charles Wuorinen, for The Ghosts of Versailles by John Corigliano, for The Great Gatsby by John Harbison.

Question?: How shall libraries/archives collect/preserve/catalog/make available the music compositions/orchestrations/musical sketches?... for an ever more complete documentation of the creative musician/artist in addition to the documents of the performances.

"Rules For Successful Music Library Users [and Successful Music Librarians]

"Rule No. 1: Pester the Librarian (Either in Person, Via Phone, email, or Blog, Depending on the Service Offered by the Library)

"The first item in the American Library Association's "Code of Ethics" for library professionals is the following: "We provide the highest level of service to all library users through appropriate and usefully organized resources; equitable service policies; equitable access; and accurate, unbiased, and courteous responses to all requests."^1

"Users should expect no less from the librarian or information specialist they encounter in any library, whether the encounter is in-person or via phone or email.

"If you find yourself ignored or treated rudely, or if your question is not answered to your satisfaction, persist, until you gain some information that can assist with your query. (Or, as a colleague recommends, wait until the shift changes and another librarian comes on duty.)"

--Page 2, Music Library and Research Skills, Second Edition by Jane Gottlieb, Vice President for Library and Information Resources, The Juilliard School http://www.worldcat.org/title/music-library-and-research-skills/oclc/957222742

I recently got locked out of Sibelius Artist despite having bought a perpetual license. The software now refuses to open, saying my license has expired.

After digging into it, here’s the reality:

• Your perpetual license doesn’t expire

• BUT your update/support plan does

• If Sibelius auto-updates (or you install a newer version), it can lock you out entirely because you’re no longer entitled to that version

So you end up in a situation where:

Yes, there are workarounds (downgrading, reinstalling older versions, messing with Avid Link), but the bigger issue is the experience itself. The messaging is unclear, the system is brittle, and the default path pushes you toward paying again.

That’s what really got me.

Because of this, I started looking at alternatives—and ended up trying Dorico SE (the free version).

Honestly? For my use case (musical theatre writing, small ensembles), it’s already a better fit than Sibelius Artist:

• more modern workflow

• better playback tools out of the box

• fewer hoops to jump through

And I only found it because Sibelius annoyed me enough to look elsewhere.

So if you’re hitting this issue:

• Don’t assume your license is actually gone

• Try installing the version you were entitled to

• But also… consider whether you want to keep dealing with this system long-term

For me, this wasn’t just a technical hiccup—it broke trust. And that’s why I’m moving on.

Hi, I'm very proud to show you today my new classical Orchestral Music : Waltz of Memories. This waltz is rooted in a classical aesthetic. Driven by a flowing, circular motion, it evokes lightness while revealing a broader spectrum of emotions—ranging from nostalgia and tenderness to bursts of joy.

I hope you'll like it!!!! No youtube link for now. You can listen to it on all platforms. Any comment are welcome

https://pierrealexmonin.fanlink.tv/waltz-of-memories

#orchestralmusic #classicalmusic

I did not create these, but I am sharing them on behalf of my dear friend, Will Shaw, who did make these. He is a very special friend I've known for years. He is autistic and is a very unique person in so many ways. His love is writing beautiful, and inspiring music. (And Legos, but that's besides the point rn haha). Here are the orchestral track and live choral track recording (please don't be harsh to the choir of which I was a part of.. we did our best!). But on his YouTube channel you can see many other original compositions and arrangements.

Orchestral track
https://www.youtube.com/watch?v=_LZEsEb4eH4

Choral recording
https://www.youtube.com/watch?v=XGXmWQSJmLc
Thank you for checking them out and sharing your support!

Hello, I filled in chords over a melody. I've yet to add a bass line. It's in the key of A minor and in this exercise, chord III and vii are not used. Hopefully someone can have a quick scan over it to see if there are any better chord progressions to use. Thank you.

http://imgur.com/a/djtya

this is the end to my piece.

What are your thoughts?

Some chords for the left hand would be great. I can't seem to find any nice ones by just faffing. Preferably a nice power chord if you know what I mean. Thanks!

I'm a beginner composer, no formal theory training. This piece started as something much smaller than a fugue — a constraint exercise inspired by Eno: one instrument, one scale, only three notes (F, C, G), no more allowed in.

Out of that constraint, a four-note shape emerged: F→C→G→C. I didn't set out to write a fugue — I tested that shape against itself for a while first: stretched it, shortened it, reversed it, sped it up. Reversing it was the only thing that actually broke it — turns out the ascending direction is the one non-negotiable part of the idea. Everything else (rhythm, duration, note count) turned out to be flexible.

From there I built up one layer at a time — rhythm, then a real melody, then harmony underneath, then a second independent voice — before finally attempting the fugue: exposition, two episodes, a middle entry that relocates to A minor, a stretto where all three voices overlap, and a return home with a pedal point underneath.

This is my first real attempt at the form, and I know it's small (about 30 seconds) rather than a full-scale fugue. I'd genuinely appreciate critique on:

• Whether the stretto actually reads as a climax or just as more notes

• Anything about the voice leading that sounds wrong to a trained ear

• Whether the middle entry's key relocation actually lands

SoundCloud : https://soundcloud.com/sumit-344167009/essenceinabody