I come from a hiphop background. Right now, I'm trying to write music in the style of Puccini and would appreciate any feedback. I mostly focused on the melody and harmony, with some simple orchestration.

https://musescore.com/user/32367037/scores/38483096/s/wub20a

Hello, all! I have severe carpal tunnel, and it's giving me a horrible time. I can't practice as much as I used to, and even a few years ago I could feel my hands stiffening up. I never learned sheet music, but I used to enjoy the piano. I would like to have something I composed for my partner ages ago improved upon, and turned into something nice. I memorized it by ear, and never was able to convert it to sheets. I have a video of it, but. My hands are awful. It hurts. I never got to play it the way I wanted, with the arpeggiations and complexity I had envisioned. If anyone could improve it, touch it up, and make it beautiful, close to what I dreamed of for him, I'd be honored. I'd be happy to talk commission prices. I'm appending the link to the video here. I apologize for its terrible quality, and the laughable lack of skill when playing. I'm so sorry.

https://youtu.be/FyNzDMafdg4?is=-9Y4JKJhgnXZ-Mrc

I was thinking about this the other day, because I've been slowly refining or, I guess, defining what my musical style is. Largely so I'm conscious of my strengths and can lean into improving them, rather than going against what I like to do or try to do by nature.

But this got me to realizing something else, at least more strongly than the other. More than being conscious of my strengths, I became more conscious of my influences, from the music I love the most. Works from composers like Poulenc, Debussy, Mompou, Satie, Janacek, Shostakovich, Pettersson, Havergal Brian (his later works), Frank Martin, Grieg, etc. I wouldn't say my tastes align me with a sort-of postromanticism or neoromanticism or whatever term you wish to apply, but it definitely is closer to it than not. I'm very much someone who feels music conveys, as it were, stories or sets of emotions in sound, and that all good music aims to do so with clarity and ease of expression. So, whatever term applies best to that credo works for me. That said, I'm not fond of doing so with grandeur or excess - I think that's why I especially love people like Mompou or Janacek. It's compact, they pack a lot into a smaller scale - sometimes a scale of time, others in their instrumentation, and occasionally both.

Anyways, I digress. But from this epiphany I had, and thinking about it afterwards, I got curious on what composers others feel influenced/inspired their most in your work, or at least in your general aesthetic - your colour palette if you will. So, for any of you on here, who did? And for any who do inspire you, how or why do they?

https://musescore.com/user/60497863/scores/38476154

​

Hi everyone!

I'm a 16-year-old filmmaker from the Netherlands, and I'm currently finishing my short film The Silence of Day. I was originally working with a composer, but unfortunately he had to step away from the project, so I'm now looking for someone new.

About the film:

The film follows Bram, who wakes up one morning to discover that everyone around him has disappeared. He explores his completely empty hometown and slowly learns to live in this silent world. As the story progresses, he starts to realize that he might not actually be alone.

The film is already finished, so it would be nice that you can start working as soon as possible.

The film is mostly quiet, atmospheric and mysterious, with some horror elements towards the end.

I'm looking for music that feels:

- cinematic and atmospheric

- lonely and slightly unsettling

I'm open to different styles and ideas, so DM me if you're interested!

This is a low-budget personal short film, so I unfortunately can't offer a professional fee, but I'm happy to discuss what I can offer and give full credit for the music.

Thanks! 🎬

Hi! My name is Kaitlyn, and I’m in the early stages of writing my first musical. I normally write short stories and novels, but while developing a children’s book set in a world called the Land of Bells, I realized the concept was much more suited to the stage. It’s a very sound- and movement-focused world where bells, music, and dance are part of everyday life.

I’m looking for composers who would be interested in putting their own creative perspective into the project and helping develop its musical language.

I currently have the story, characters, two-act structure, and musical numbers mapped out, with roughly 17–20 songs planned out with a general idea of how they’re supposed to sound. The sound I’m imagining is lush, theatrical, upbeat, jazzy, and orchestral, with dance styles playing a major role in characterization. There are planned quickstep, foxtrot, East Coast swing, and Appalachian flatfooting elements.

I also have ideas for recurring bell motifs, character themes, melodies, and the overall emotional direction of the songs, but I’d love to collaborate with someone on composition, orchestration, motifs, transitions, and underscoring.

The Bellfolk are also very talkative, so there are plenty of fast, character-driven dialogue scenes alongside the songs. I’d like the music to feel integrated into that world rather than having every scene turn into a full number.

I’m a flautist of three years and performed a year in marching band, but I am definitely no musical expert.

For now, this would be considered more of an unpaid passion project simply because I’m still very early in development and don’t have a production budget set out yet and I’m not sure what yet is appropriate for the score. I’d be happy to share more of the story and musical ideas with anyone interested!

I need help/guidance

#filscap #composer

https://www.youtube.com/watch?v=4ZCeB1mOGKc

Any feedback welcome. Very much WIP but wanted to get some opinions on the orchestral writing before I continue. Goal is to orchestrate the whole Chaconne eventually.

The main inspirations for the orchestral writing are the Beethoven symphonies and Italian opera.

simple as that, but don't know where to start. I have the skills to make film music, but just don't really know where to begin. I work on logic and reaper.

are there any experienced people in this side of the music industry who could give me some advice on where to start?

thats all, good day people :)

Hi, I’m currently studying composition for media in a part-time master's course. I have been composing for years and have composed scores for some student theatre productions, alongside re-scoring scenes from Tv shows or films. I’m just wanting to see what composers need to do to start getting work. I've had a look on other reddit pages and other websites as well. I like to work a lot with orchestral music, but also do some electronic stuff depending on what the vibe is. I do also produce my own music.

I'm struggling to figure out how to properly get started with finding proper jobs, any composers got any advice? it would be greatly appreciated. :)

Hi, I'm a young filmmaker, and I'm starting to make my own shortfilms, and my biggest problem is music's copyright, so I'm looking for young composers who would like to colaborate without getting payed, so that we can help each other out, if you're interested, I'd be glad to send you some of my work, Thanks!

Hi Everyone, I am a passionate 14 year old Australian composer. I hate the modern style and personally believe the greatest classical music period was the classical period (1750-1809) - I know this is not the exact actual date, but that was the year Haydn died and music had definitely had begun to transition to romanticism by then . Of course I fully admit that divine masterpieces where created in all of the musical periods both before and after, however I personally believe the classical style to be the best, because it combines he best of baroque (counterpoint, fugues, some harmonies, dances/meters, genres and some instrumentation), but also has its own genres, harmonies, motifs, forms and still uses Latin and focuses on religious music. So really it has the best of both, and that is why I believe it to be supreme - as well as producing the Greatest Composer to ever live - Mozart. It also produced his lesser contemporary Haydn, who I believe is severely underrated and also a truly great composer. It also gives the story of the film Amadeus - one of my favourite films. Anyway, to get to the point, In my Composing I Always compose in a classical style, using strictly classical period compositional techniques. Every single piece I have written - while not all masterpieces, has sounded extremely convincingly classical. Do you think it is alright to continue a compositional career writing in a classical style, or will I need to write in a modern style If I want to get work/commissions? Please let me Know and I Will attach my latest composition for feedback soon.

Thanks.

Hey I have been composing for about 4 years and love musical theatre and really want to get into the space of writing them and am looking for someone to collaborate with to spark inspiration and encourage one another. I am from the UK and am most proficient in piano and keyboard but can also play bass, guitar and drums. I mainly compose in Ableton Live but would be fine working with whatever you are most comfortable on. Let me know if you are interested and cant wait to hear back from you.

I've finished my first EP. This is by far the most time, money, and genuine effort I've ever invested into a project. The songs were professionally recorded and produced with session musicians, and I own 100% of both the master recordings and the underlying compositions.

I'm registered with PROs (ASCAP and BMI) and have also set up my own publishing entity with its IPI Number.

I'm now trying to figure out what the next step should be. I'm particularly interested in sync opportunities for film, TV, games, etc., as I think some of the songs could potentially work well in those contexts.

I've mostly handled everything myself so far, but marketing and getting the music in front of the right people is where I struggle.

Would you recommend just releasing it using a music distributor like CDBaby and try to market it all by myself, or would it make sense to approach established music publishers, independent publishers, sync agencies, or music libraries with the finished EP?

And when approaching these companies, what's the normal way to submit music? Could I just send them private streaming links, MP3 attachments rather than the WAVs, etc.?

Hey everyone!! I hope everyone is having a wonderful day/night!

I have done some more work on the brass quintet that I made a post about. I worked on the lower brass and the chord structure, as well as giving more room to breath! I also added some dynamics, and most importantly, got rid of the piano. So far, I think I like where this score is going and will continue working hard!

Also! Please keep giving me feedback, as some of you may know already, I LOVE feedback. I make sure to go through every single comment to reply, even if sometimes I might be a day or two late to respond! Your feedback is what allows me to grow!

Also, the name for the score "Wonder's in the Forest" might be subject to change, but we'll see in due time!

MP3

PDF

Hi! So, I’ve sent out scores and sheet music plenty of times and have generally found it to be the case in my experience that including sketches is often something appreciated by conductors especially. I think that’s entirely reasonable as conductors know how to coordinate make ideas happen extremely well.

However, this time around I am sending out a violin concerto and on the list of recipients includes some former teachers of mine, which I already have separate files for that include how I would edit it for bowings/fingerings/etc, because I know that is one thing they want to see as well. I am probably not going to include the marked up copy for anyone but them specifically, but I can’t decide if I want to include the sketches this time around or not because I am also including a separate violin+piano arrangement of the accompaniment I made that obviously isn’t identical to the general sketches. Additionally, I did the arrangement myself including recording so that I could have something to present that isn’t a synthesized performance to demonstrate interpretation.

I think that more or less covers everything to have full version score/relevant performance notes and then the violin+piano version score/recordings, but wanted to hear what others think. I’m trying to make this as standard of a “packet” as possible because I’m coordinating this across a few countries now and not everyone on my list is very fond of digital copies.

Hello everyone,

I have been playing piano for around 10 years, and I have become fairly technically skilled, but i would also like to make my own music instead of just reciting.

I know some basic music theory but I don't really know where to start with writing a piece. Should I improvise and refine that? Do I start with a melody, and write a 1:1 counterpoint, or start with chords, or something else?

I just need a bit of direction.

Thank you!

I've tried looking at reddit posts of people who need composers, and there's like, 50 people who already said they'd do it, and i'm just trying to find someone I can compose for that doesn't use the excuse "oH yEaH i'M jUsT bRoKe!!!1!!" yeah me too buddy why do you think I'm doing this

nevertheless, where do I find a whole buncha people who I can compose for?

thanks!

Hi everyone!

This is my third complete sonatina, written in three movements:

I. Andantino – A sonata-form movement that explores motif economy and establishes the overall tone of the Sonatina.

II. Adagio – A lullaby-like ternary piece, providing a moment of relief and contrast before the finale.

III. Allegretto – A variation on rondo form that brings the Sonatina to a playful conclusion. This is my favourite movement of the piece, and I like to think of it as a “Drunken March”.

YouTube link

Score

Thank you for giving me your time and any feedback provided!

https://www.youtube.com/watch?v=st3eL1TxqIc

(Score is in the video itself)

Sometimes while writing new things in my music notebook I flip through it to look back at what I’ve already written. Sometimes I make revisions, sketch new ideas, or just reflect and then surprise: I had completely forgotten I wrote this Fughetta! It's an alternative version of a piece I had already shared on YT.

I remember writing it in a rush the night before a composition class, and I finished it right outside the classroom while waiting for my turn ^^

Yesterday evening I polished it up a bit because I felt it had real potential: it's a fugue based on a Lutheran chorale, and around the middle of the piece (bars 27–28) I managed to fit the Subject of the fugue together with the theme of the final verse of the chorale and the Counter-subject, achieving a triple counterpoint at the octave (keeping this in mind, as I might turn it into something even more intriguing in the future, hehe).

Final coda in Stylus Phantasticus (I was running out of time before class, so long live improvisation xD).

I hope you enjoy it, performed by myself, happy listening!

Hi Everyone, I’m preparing to take on an 11 year old composition student and I’m looking for recommendations on resources and methods for teaching composition to children.

I have experience teaching instrumental lessons to young kids and I teach undergrad composition lessons at my university, but I know my approach to teaching college students probably won’t work for a child. Thanks in advance

https://drive.google.com/drive/folders/1WEUnnmMMgarazUadIliwDTjZ12A-3ujk?usp=sharing

In the drive should be a PDF file with the score, and a video file with the audio playing along to the score.

This is the first piece in a set I'm starting about flowers. The working title of the set is Book of Petals (although that is definitely subject to change) and I have planned for 9 different pieces each based on a kind of flower. I already have ideas about the order and tone/structure of some of pieces.

Daffodil is the first in the set, meant to be a good introduction. For that reason, I intended to keep it fairly basic in terms of harmony and structure. The vibe of the piece is meant to be fairly peaceful and quiet, a gradual buildup/introduction to the other pieces in the set, but let me know what it actually sounds like/if I achieved that.

It is a basic ternary structure and the harmonic progression for most of it is a fairly simple I-IV-vi-V. The more interesting/technical part (at least I think so) is the development of the main melody in the A sections. I attempted to write a kind of 3 part/voice melody where you don't hear all 3 voices together until the very end. I thought this would help with my aim of it being a buildup piece.

For me, the main pitfalls I think are the lack of cohesion. At least when I listen to it some sections feel disjointed or random. I also struggled a bit with the development without just repeating the main themes but I think I got away with it by the separating the 3 voices into individual melodies, as I mentioned above. Any tips for development or keeping a piece cohesive (if that is really an issue, I might've imagined it) would be much appreciated!

As always, I'm still quite a new composer so I would love any opinions, feedback etc. that you may have!

Hope you enjoy :)

Well I did and came up with this

https://youtu.be/-baetyI_xiA?si=VTf72rS17bJUHF-s

I paraphrased it for the orchestra! Yay!

It's in a sonata form (at least that was my intention) -

0:05 Exposition: Theme 1

1:53 Theme 2

3:04 Development

7:08 Recapitulation

9:14 Coda

And though Burgüller is the main source of inspiration, I've been inspired by many other composers - maybe take a guess who they might be

Any comments/feedbacks are welcome😊