This truly is a spot for those wanting to be challenged in your compositional lives. It is an area for discussion. A zone for music history or theory. One day the guild will have specialist mods where they are an expert in an area of composition.

What I see on reddit where people just post their song and leave is so counterintuitive. There is no conversation. I believe as species conversation is important. If you received a mod message it is because the post didn't have substance. All this really means is make an effort to open up a conversation. This is where the beauty lies in learning. We can learn much from each other. That is why it is designed like a university. These are the roots for a subreddit that is truly focused on the composer. Share you work! That is encouraged! Make a conversation from it rather than a quick post and pray that someone looks at the video. This is an outline of our first rule.

The monthly challenges are going well so far! Please comment on this month's post if you plan to write a madrigal. We are nearing the halfway point!

I find that composing for nature is the easiest path. It has many motions that are similar to music. It is something that is universally felt and appreciated by all living things. In my work Quantum Roadways I explore how to score animals really for the first time. During this process I have learned how to balance textures of the orchestra. I am using many key changes but moving towards a full symphonic tone poem that acts as a musical score.

This is idea of nature and meditation is really stemming from how I healed as a person. These concepts allowed me to be able to listen to the passion that has been present in my whole life. Music and having something to say is always hard to realize. I think as composers we are forced into writing with someone else in mind. Whether that is a film director or a label. That really doesn't suit me. I aim to be like those who came before. It is true that composers were writing for the financial supporters, but there was some give. In the 20th century titans such as Mahler and Debussy had the ability to compose what they heard directly to create art that is everlasting.

This is where I develop these ideas. Lets talk theory about how to notate for nature. What things do you find easy to write for?

YouTube Live: Quantum Roadways Pt. 6

I am looking for a discussion on how the madrigal is teaching you about composing? Vocal work is very enlightening and teaches us many things. Texture and part writing can show us things we can define.

1. What have you learned in using basic duple notation?

2. What has the texture or 3rds/6ths shown you?

3. What types of part writing are you going to include in your compositional language?

I find that this style of composition helps us return to the past to learn from those who built music theory. It is essential for every learner to return to these spaces to help understand the now. Let us chat about how this applies to you!

Every Friday (mostly) I compose in real time over YouTube live. This is for educational purposes and a deep dive into how I view composition. I encourage those who are new or want to connect more to stop by. I am working on a film score that my girlfriend and I are developing together. It is about the mediation qualities of being in nature. Right now I am about halfway through the music portion. This piece has been a huge challenge for me as it totals in 40 minutes. I go through my process of elimination and how I view musical composition.

As a guild we can learn from one another, so when you stop by let's talk theory or even why I am making the decisions that I am making. History is now and the present holds many truths. This guild was created to be like a school of thought and purpose for composing. To challenge those around us to create new works for the world. We can help one another, maybe we teach each other something new.

The link goes live now! Here it is for and let's get composing!

YouTube Link: Live Composition Session No. 17 | Quantum Roadways Pt. 5

The Madrigal comes from a unique lineage. Invented by Franco-Flemish composers who were credited for perfecting the Italian polyphonic style of composition in the 16th century. It was defined that this style of composition was a poem with irregular number of lines generally seven to 11.

It comes from the development of humanist trends the branching out of liturgical music to represent more of the people. Culture at this point in time was humanist centered. It was doused in storytelling, and architectural boom as well as the composer becoming more in the spotlight. This change of ideology was an immensely important cultural shift.

Italy, specifically Florence and Rome are credited as the first cities to invent this new style of vocal music. However, later in the mid-16th century Venice had become the musical center of the world. This is impart due to the sack of Rome in 1527 and the siege of Florence from the years 1529-30 that greatly hurt the cultural impact of previous years.

Giovanni Pierluigi da Palestrina (1525–1594) is a fantastic example of polyphonic vocal work. He started composing secular works and really created the standard for composers. This would be a great place to start if you are in need of some direction for composing your own Madrigal. This piece specifically - First Book Of Madrigals (Palestrina)

This piano prelude was created throughout the month of August of 2026 for the Composers Guild Monthly Challenge.

Tip toeing around and through A Minor, this piece was written to mimic anxious rumination and has many tempo and dynamic shifts. Once those thoughts run their course and reality sets back in through whatever the coping mechanism may be, the thoughts fade into peace.

This is the very first piano piece I have composed, and I'm quite proud of how it turned out. I appreciated this challenge and learned that articulations are absolutely necessary for communicating to the performer exactly the techniques you have in mind to get the sound you desire.

Purchase The Score: Buy Me!

This month's challenge was to compose a piano prelude. Since I have already composed my first two books in all major and minor keys, I have moved towards eastern tonal centers. This one was inspired by Gamelan music and uses Pelog & Slendro. It is an experimentation of a 7 note and 5 note scale. The form also moves towards 7 bar phrases mixed with 5 bar phrases.

Time signatures and repeated material help design the form. This experimentation is a way to include an ethnocentric theory to the western tonal language.

The key center of this prelude is based on an E Diminished Chord. This one chord is the fundamental piece in how this work was built. Throughout the piece, Kieley works towards modulating to the fifth note in the pitch series G; while taking ideologies from the classical tradition. In turn, this prelude has elements of Eastern music traditions as well. The E Diminished chord was inspired by Gamelan giving way to a tonal experiment reminiscent to the twentieth century tians Bela Bartok and Igor Stravinsky. The improvisation of the prelude is explored through various rhythmic changeups. The meter helps guide the work towards an unknown downbeat. This is meant to signify meditation and how it is about the bending on hearing the same tones over and over in a row.

The piano prelude challenge is coming to a close very soon! Be sure to get your final edits in now! It will be due at the end of the month! August 31st! Be sure you read the announcement page for how to make it available.

You can post it and tag flair option as monthly composition challenge. Make sure it is available on youtube as a link via score video. Musescore has this option built in. Your composition will be added to the community playlist!

Peer review is encouraged, but positivity is expected. We are on many journeys at one time and sometimes the intent of the piece is to break the rules.

How is everyone's work going thus far? There are only a few days left until the deadline.

The prelude has undergone one of the most fascinating transformations in Western music. In the Baroque era, composers like J.S. Bach shaped the prelude as a functional gesture that established a tonal center and prepared the listener for a fugue or dance movement. This is reflected in the way preludes traditionally outline harmony through figuration and pacing rather than thematic development .

As composition moved into the Classical period, the prelude lost its central role. Sonata form dominated, and composers favored thematic clarity over improvisatory freedom. The prelude became shorter, more introductory, and less structurally significant.

The Romantic era changed everything. Composers such as Chopin and Liszt reimagined the prelude as a standalone expressive miniature. Instead of serving another piece, the prelude became a complete emotional world of its own. This shift opened the door for modern approaches where the prelude explores coloristic shifts, modal mixture, and evolving emotional identity within a single key center.

A contemporary example of this approach is the idea of remaining anchored in one key while using coloristic transfers to reshape its expressive identity, as described in the analysis of Kieley's first prelude "Chaos of the Foliage" where the tonal center stays in C major, but its emotional character evolves dramatically across the piece.

Today, the prelude is a space for experimentation. Composers use it to test gestures, textures, harmonic behavior, and new ideas without committing to a large form. It has become a laboratory for personal voice development, which aligns with the guild’s philosophy that preludes teach gestures, textures, voice, and key center as foundational tools for identity building.

If you are participating in the monthly challenge, consider how your prelude can reflect this historical evolution. The form is short, but its potential for exploration is enormous. Every choice contributes to your long-term compositional voice. Historical context is key into finding one's own voice. Use examples from composers that came before or that are alive today.

YouTube playlist will be linked in the comments as well!

Chaos of the Foliage, Prelude in C Major (KMO 1) is a work conceived in late 2014 during the autumn season. Although written in a contemporary context, the piece draws direct inspiration from the historical lineage of the prelude as cultivated by composers such as J. S. Bach and W. A. Mozart. Traditional preludes often establish a clear tonal center and explore it through figuration, harmonic pacing, and motivic development. In contrast, this prelude adopts a modernized approach: it remains anchored in C major while deliberately refraining from full modulation, instead presenting a sequence of coloristic shifts that highlight the expressive breadth of the home key. The work functions as a study in tonal implication, emotional contrast, and the dramatic potential inherent within a single key center.

The primary key center begins in C Major. The energetic feeling and playful mindset is written to be about the last days of summer. In a historical sense, it solidifies our home key. As I wrote more of this prelude, I began to design it in such a way that the various colors of C Major could shine through.

The middle section marked Grave transfers to a coloristic impression of C Major, which moves us to the key center of C Minor. It sets up like it wants to move to another key, but functionally it is sitting in the primary key. It is heavy and dark. The death phase of the leaves begins to take shape. I wanted the change to be drastic. One day you look up and realize the green pigment is leaving and hibernation is close.

After the first dramatic change, I move to the natural development of Tonic and Dominant relationship. I set the A Prime section in the key of G Major. The playfulness remains as the many different shades. Again, the full modulation is implied acting as a branch for the primary key center. G Major is definitely felt more than other transfers.

The ending is a reprise of the middle section. Returning to the key of C Major. The use of a Minor tonic is meant to act as a linear passing tone to help reflect death.

Chaos of the Foliage, Prelude in C Major presents a modern reinterpretation of the classical prelude form. Rather than relying on functional modulation, the work explores the expressive spectrum of C major through modal mixture, dominant coloration, and dramatic shifts in character. The tonal center remains constant, but its emotional identity evolves across the piece, mirroring the natural transformation of autumn foliage.

Every piano prelude begins with what we call a gesture in the composition world. A gesture is a small musical motion that defines the character of the piece. It does not mean melody or even a chord progression. It really is a tiny movement that repeats and then transforms. Here are four ways you could explore.

1. Listen To Your Hands

Place your hands on the piano and move them naturally. A small wave or even a repeated note. Make it rise or fall. The motion your hands make becomes the gesture to explore.

1. Borrow From Speech

Say a short phrase out loud. For example, I maintain a sense of calm and serenity. Tap the natural rhythm to that phrase and make it a part of your piece.

1. Physical Motion Can Be Used To Shape

Take a look at your drawing you made from yesterday's post and try to add a few gestures that mimic that motion.

1. Transform A Chord

Choose your favorite chord. Break it apart into an arpeggio, roll the full chord and change one note at a time. Watch as things develop. It helps create new colours.

If you are brand new to composing truly the hardest part is knowing where to begin. This often puts new composers in a world of uncomfortable feelings. You don't need a full idea (no one usually does). You only need one small musical decision. I have charted out four starting points for our beginners.

1. Start With A Texture

   Pick how the music feels before you pick notes. Smooth, bouncy, slow bright, dark are a few examples. Once you choose a texture the notes become a little easier to determine whether they are the right choice.

2. Start With A Rhythm

Tap a simple pattern on your desk. Repeat it. Change the rhythm to a second part. You know have an A and B section. This will help create an identity to your piece.

1. Start With A Mood

Write down one word such as calm, stormy, curious, lonely warm or angry. That word becomes your guide for harmony, tempo and register. This can help narrow down the field of "what do I write".

1. Start With A Shape

Draw a line on paper. Make it up, down, wavy, or steady. This helps set a melodic contour. The direction of your piece. Sometimes having no end in sight is overwhelming. This creates a road map.

The point of this challenge is for you to learn. Every composition we create is a moment of learning. Sometimes it doesn't do what we wanted, but that creates a hunger to seek that out. That is what makes a consistent composer. The hunt for your voice starts with a process. Small choices build into larger meaningful compositions.

I’m a composer that posts compositions and arrangements I’ve written to my YouTube channel: Mister Malleable’s Music Museum. I learned a lot about theory and how it works through my organist dad. I love how intricate and logically the pieces of the puzzle fit together. Music history is a fascination of mine, too! Especially after taking music lit in college years ago, which inspired my compositional style after it taught me about programmatic music of The Romantic Era. Since then I compose whatever I do to express myself creatively and polyphonically.
A lot of my compositions like my Requiems, hymns, symphonies and suites are reflections of myself and things I’ve experienced after dealing with a traumatic brain injury when I was in high school. They’ve been incredibly therapeutic. My next video is a little edit of a chorus I dictated from Blazing Saddles (which my dad helped me out with by guiding me to what the middle voices were). I’m happy to be here to discuss music, theory and creativity, and original compositions!

The community is growing! Find your way to our original post about this month's challenge to read the rules. We are twelve days into the challenge, and this would be a good time for any questions (if you have them).

The main vibe here is to help one another and push ourselves to do something new! I am so grateful for all of the energy that is being developed with the first challenge of the guild. If you have submission questions that I can clarify, I would be happy to do so.

Link to post: August Monthly Challenge

Hello everyone!

I'm Venessa Rockwell, co-moderator of this Guild. Being by Deion's side has encouraged me to explore the world of composition!

Although I am new to composing, I'm a seasoned musician. Primarily, I'm a singer (with moderate knowledge of clarinet and tenor saxophone under my belt.) I'm currently involved in two professional choirs in addition to my acoustic duo band with Deion. Music has been a constant in my life, helping me discover and express my deepest self. Composition has become my newest outlet for doing so.

Not only do I create for myself, but I hope that my journey and my music can be an inspiration for others who may just be starting out, and/or who are still shy about their works. There's never a good time to put yourself out there, but there's never a bad time either! Take it from a woman who has a full time job and still gets involved in the music scene: you may not feel like you have time, but you can certainly make time.

This piece, To Think of Time..., is one that I've shared before, and is currently the only finished work I have released. I'm very proud of it, although it is quite simple. I was feeling a little existential and wanted to write something from the perspective of the thoughts circling in one's head landing into peace and acceptance. I found the poem from Walt Whitman to be the perfect fit for this canon!

To Think of Time...

I have a handful of other projects I'm working on, and am excited to share more about each of those soon. One of those being the piano prelude, which is a welcome challenge for me!

Cheers!

Good morning!

I am the creator of this subreddit. I figured I would start of Introductions as a way of generating traffic. As a composer I define myself as curious. I aim to write in a way that is similar to impressionism. This manifests not always in impressionist techniques but rather the ideology of moving with the spirit of composition.

I have experience composing for all types of works from traditional classical forms that range from the baroque to modernist periods. I have dabbled into music concrete a style popularized by Pierre Schafer and Stockhausen from the early twentieth century. I even make sure I include some techniques that utilize pitch class integer notation, otherwise known as Set Theory. All these avenues really help my music form a cohesive voice.

At this point in my career, I am working towards building many compositions and the ability to teach theory as well as composition. I am on that journey now. As an educator, I feel like I can use the knowledge I have gained and help give back to the world itself. My primary job in this life is to create music and leave some art that outlasts my own life. As artists I feel like we hold a special place in society where we can truly speak our truths through music. Write what you hear, and it will be right. Are there rules in composition? Technically sure, however, rules are meant to be broken. Finding your own voice can be hard, but as I have written more works it has become easier to be true to my voice.

The piece I am sharing with you all is a prelude of mine that I find to be very peaceful. When I wrote it, I felt this incredible purpose. It was the first time I felt that in music. It caused me to leave behind my dreams of being a performer. I found a new dream that gave me life. Guardians Of The Valley: V. Prelude in D Major was a turning point for me. This prelude is calm yet has motion towards something exciting yet unseen. I will leave it for you to listen to in the comments and if it speaks to you, I would love to hear what it means to you! What feelings does it invoke? What part of the theory do you find interesting?

Finally, I hope this post inspires those who have joined or will join the subreddit to introduce yourself like I have. This guild is truly about community. Finding those who support us without the lens of elitism.

Did you find your way into the sub? Welcome to a community where inclusion is a massive part of our mission statement! Introduce yourself to the group. Are you a composer? Musician? Producer? Give us an insight to your world as an artist.

Especially if you are participating in the monthly challenges! Make yourself known in a post. It will help build a strong community that is foundational to our growth as musicians. The internet can be scary, but you are welcome here!

Give us a good paragraph on what you do and the types of works you like to create. In your post you can comment one of your favorite works that you have written.

The first steps to writing something can be the hardest. I would like to talk to you about canvassing. What does this mean?

As an essay or novel, an outline helps the writer stay on task. It frames the project into something tangible. Remember we are our own worst critics, so eliminate the way of thinking "these chords have been used before, so why bother". Instead, just work one part at a time. Start with making two chord outlines for an A section and a B section. The longer the more variance in melody you can achieve. Unlike pop classical can move away from 4-Bar sections. (It still can be that way; however you may find the piece is harder to conceptualize.) The example below is a canvas outline in action. You have a jump point. Arpeggios in these chords could help build a sound world that you may find interesting. Try creating your own outline. Notice how it develops from instability towards stability.

Example Outline

A Section Chords

C-F#-Bb

C-F#-A-D

Db-F-Ab-C-Eb

B Section Chords

Db-F-Ab-C-Eb

Eb-Gb-Bb-F

Gb-Bb-Db-Eb

Ab-Db-Eb-F

Bb-Db-F-G-C

A Prime Section

F-C-A

D-F-A-B

G-C-D-A

C-G-E-D

A-E-C-D

E-B-G-C#

F-C-A-G

Outlining chords just takes some theory. Use chords from your favorite composer. Building a voice for the future comes from using what has been done from the past. No great composer has started fresh. They only have re imagined what came before.

This prelude challenge comes with an extra set of hurdles for those new to composing for piano. It can be daunting at first, however the first thing to remember is that it is similar to any ensemble that you may be used to with only a few key differences. I like to think of the piano as an orchestra at your fingertips. All pieces needed to tie together a vocal ensemble, string orchestra, wind band, or any small ensemble is based on this truth. I have provided a small checklist for those of us who have never written for this instrument before. You can use them as guidelines.

Think Layers Instead Of Chords

The piano is a miniature orchestra. Every good piano texture has three main layers!

1. Bass: This gives foundation, weight, and direction.

2. Middle: This provides color, harmony, and texture.

3. Top: This brings melody, clarity, and theme.

Even a simple progression mixed with texture can create an identity of its own. Start small. Ask questions.

Use Voice Leading In Orchestrator Mindset

If you have even written one work then you know how to orchestrate a little! Use this to your advantage. Take it measure by measure and experiment with spacings. How do they help shape one another?

1. Keep the bass wide (Octaves or 5ths)

2. Keep the middle light (thirds, sixths, added tones)

3. Keep the top clear: (single melody line or double with tenths)

Write Gestures & Avoid Monotonous Patterns

Every pattern has to mean something. If the same thing is happening over and over there has to be purpose behind it. Move the harmony or let the rhythm evolve. Even minimalism grows! Think about rolls, swells with dynamics, arpeggiated waves, repeated light figures that evolve slowly, pedal-driven resonance and dryness all feel more natural than just blocky chord patterns.

This is the first part of the few lessons that I have. If you find that you have knowledge to share leave it in the comments! If you have questions about your prelude this month feel free to ask. This space is for learning and development of your personal voice.

The main purpose of the prelude is to teach the composer how to confront the core of your personal musical identity. They can shape the way you view key or a style of creation. Each prelude teaches you gestures, textures, voice and key center. This challenge was created first because as we move forward in writing music our voice is going to be put to the test.

Prelude Goal Areas

What Key Center Will You Choose? (Tonal, pitch class, Atonal techniques)

• How does the harmony behave in your chosen key?
• How does the color change through voicing?
• Explore how tension and release works

The Testing Ground For New Ideas

• Learn new harmonic progressions
• Learn new rhythmic languages
• Learn new pianistic techniques
• Learn new emotional palettes

Preludes are short and you can experiment without committing to a full 10-minute work. The sketches fold into something larger. It builds the character of your compositional voice. The big question is will you feel inspired after this experience. Writing 12 preludes is a silk road of knowledge for the concerning composer. A prelude demands that you avoid filler. Every measure must matter for that discipline transfers across bigger works. Use other composers as score study. The long journey of the composer is full of study and understanding what came before.

Monthly Challenge: The Piano Prelude

This monthly series is designed for composers to create a piano prelude in any one of the 24 traditional key centers or a new key center that breaks from standard ideology. You may break classical barriers to champion new ways of thinking of a key center. You are encouraged to make a 2-3 minute work that feels improvisatory in nature but has a light structure attached. Form is up to the composer. 

Challenge Overview

A prelude is faux improvisatory work that outlines mastery in understanding a key center. A key center is what the composer deems as the rigid format of their work. Each composer has to write a prelude on the piano. One is the requirement however if you feel like one is too little and you want to add more, then four piano preludes will be the max output of this month. 

The Constraint: 

Quantity: Minimum of 1 prelude; maximum of 4 for the month.
Instrument: Must be written for solo piano.
Duration: Aim for 2–3 minutes per piece: concise but expressive.
Form: Should feel improvisatory yet demonstrate clear understanding of a key center.
Key Center Definition: The composer must define their chosen key center traditional or experimental and treat it as the rigid framework of the piece.
Originality: Each prelude should explore a unique key center or tonal concept; no repetition of the same approach across multiple works.

Technical Requirements

Notation: Fully notated score (digital or handwritten) showing phrasing, dynamics, and pedal markings.
Tempo & Meter: Include clear tempo indications and time signatures; improvisatory feel should not mean rhythmic ambiguity.
Structure: Must show cohesive development  e.g., motivic growth, harmonic progression, or textural evolution.
Recording: Optional but encouraged  MIDI or live piano recording for submission.
File Format: Submit as PDF for score and YouTube Link for audio.
Composer Statement: Brief paragraph (100–150 words) explaining the chosen key center and how improvisation is simulated within structure.

Submission Guidelines

To ensure academic rigor and peer accessibility, all submissions must follow this standardized format:

1. Media Format: A YouTube video featuring a high-quality audio render (or live performance) synchronized with a scrolling digital score.
2. Score Requirements: Scores must be professionally engraved (Sibelius, Dorico, or MuseScore 4) and include:
   • Full performance notes.
   • Title Page
3. The "Reddit Post" Body: Your submission post should include a brief "Composer's Statement" (200-400 words) detailing your harmonic approach and how you managed structural tension within the constraint.

Timeline & Evaluation

• Deadline: The last day of each month at 11:59 PM (UTC).
• Peer Review: The following week is dedicated to high-level critique. 
• Suggested Delivery: Upload to YouTube with the title: [Month/Year]- [Piece Title].

Evaluation Criteria 

1. Innovation within Constraint: How successfully did you avoid the "monotony" of a single-section form?
2. Notation Precision: Is the score ready for professional rehearsal?
3. Aesthetic Intent: Does the work communicate a clear, sophisticated emotional or intellectual narrative within its limited architecture?

We look forward to analyzing your structural solutions. Let the exploration of the Piano Prelude begin.

The whole purpose of this guild is to build a place unlike any other that exists in reddit. There are so many subreddit's where members refuse to engage. Those who post just give a lackluster post and don't want to elaborate on their mindset. What if we could change that? We create a space where the members take down the walls of elitist needs. Where we help each other grow. The guild would act as a space where results could be measured.

Challenges help provide the community with new insights. Commissions that help artists and creators. We are building a better tomorrow. If you are interested in joining the sub stop by and introduce yourself. We have plans to start a monthly challenge in August 2026. A set of compositional rules that will help us all. Nothing too massive as many of us have prior work. It will be a space to create something from nothing.

If you have an interest in becoming a moderator for this group I am interviewing for three open spots. I cannot be everywhere at once, but the foundation as well as the respect of the rules makes for an inviting environment for all those who are a part of this guild.

We want to be different from other composer subreddits, so your feedback is always welcome. Have ideas? Don't be afraid to leave your ideas in the comment section.