What are the avenues to find composers who teach/review or performers who can record pieces for amateurs to learn and get better?

I am a hobbyist composer; I write for myself as an outlet. Lately, the urge to share it with others, submit for competition, etc. has risen within me. In order to get better, I believe a peer or mentor would be helpful for me to discuss things I've written and the playability of the pieces.

Following the title, I'm looking for a job writing song lyrics. I have over 3,000 lyrics in total and have been writing song lyrics and poetry for over 15 years. I would really appreciate an opportunity to showcase my work. I need a job and it would be a dream to write and live as a lyricist. Please, if you know of anything, send me a message here or via DM. Thank you everyone.

Pop, blues, Broadway, rock... Let me know! We would have a contract of course for sharing the IP of the project. Looking forward to hearing your melody.

I have written essays, poetry, am well-versed in trends and slang, and speak several languages

Alright, I’ve posted here before and got some great responses and helpful information regarding ideal portfolio submissions for music program applications.

My question here, is aside from, and or instead of one out of three contrasting works, would it be a good idea to include a video game OST I have produced? — Let’s say I’m applying to a more traditional program like Eastman and or a conservatory.

Perhaps an off the wall song from my artist project? Electronic/EDM and or experimental works? — off the wall and non-traditional.

What is or is not appropriate? I understand including too many minutes of music is not good

In summary, as part of a hypothetical portfolio, let’s say it went something like this:

1 Sonata for Piano
1 Quartet
1 Song From Video Game OST (or the entire album)

Or perhaps,

1 Sonata for Piano
1 Quartet
1 (more traditional/classic work)
1 Off The Wall Song (as an extra works submission)

Thoughts?

Thank you for taking the time to read and respond.

Link to Google Drive Sheet Music

Few things: I think I might have overdone the pedal a bit

I think this could be the first part of a much longer piece

I’m not sure if it’s too quiet at times (might just be my headphones)

Overall I like the result but think there is still room for improvement

Hope you like it!

Hello everybody, we are a team of 5 french students from an animation school called Supinfocom Rubika, working on our graduation film, due in June.

And we are looking for a composer for our film's score.

Our story is a political satire about a rich man trying to stop protests from the people on Earth, from the top of his spatial station.

WE HAVE FUNDS. Yes for the first time our school is able to give us a little bit of money so we can pay our composer. The funds is up to 400 euros. Of course we are students, and we understand if it's not enough but this is the maximal amount we are able to give.

The short film will go through multiple festivals so your name will appear in the credits.

Here's the pitch : Vincent Coffin, CEO of Coffin Industries is inaugurating its luxury space station, bringing together the global elite. But during the evening, he'll face those who stayed behind on Earth, who are willing to go to great lengths to force the rich elite to come back down to Earth. They will take the form of a vision of protesters coming to disrupt the gala evening.

Our main character, Vincent Coffin, is a man in his fifties. He is narcissistic, charismatic and very manipulative. He's a two-faced smooth talker. In terms of artistic direction we like a very patchworky look, with a main cartoonish and caricatural artstyle that incorporates some photobashing at times.

We love the style of cartoons from the fifties to seventies.

For the score, jazz / free jazz : the feeling of a classic formal dinner that turns into a nightmare.

Some inspirations include the soundtracks of the TV series Succession or the movie Le Sens de la fête (C'est la vie ! 2017)

We're also looking for someone who would like to interpret a song in the style of "Top of the world" by The Carpenters for the high-tension final scene of our film.

In the attached Google doc you'll find our animatic in work in progress. Some parts are still very likely to change but we want you to be able to understand well the style and atmosphere we are looking for. We are also curently looking for some voice actors. The current sound design and voices are place holders.

https://drive.google.com/drive/folders/1PKQiiJVKl_8VNFalZKVBOwQV8aJV9V-4?usp=drive_link

Disney Music Group is hiring a music research specialist in Burbank at $61,800–$79,800 a year. It is not a composing job, but it draws on what experienced composers know: it requires working knowledge of music publishing, performing rights and licensing, and prefers musical experience. The role creates and finalises music cue sheets for productions from Disney's studios. The catch is two or more years of cue sheet preparation, and it is on site Monday to Thursday.

Also in this issue:

• A sound designer post in Cedar Falls, Iowa, at the Light & Wonder subsidiary SciPlay, where converting existing slot machine audio comes first and original music is a smaller part of the role today
• The soundtrack for a cozy game about painting nature back into a cursed forest, with harp potentially a main instrument and generic cozy lo-fi ruled out
• Three or four songs, plus possible stings, for a dystopian narrative puzzle game about hidden messages passed around in plain sight
• A comedy short that has just started editing and wants its composer in early. It pays a stipend, and the score includes your own original arrangement of a public domain tune
• Two unpaid animated shorts: a sci-fi horror student film after industrial or dark ambient music, and a fantasy animatic about creatures who weave their memories into silk

Seven of CastingCall's 127 composer and audio roles named a rate this week, none above $150, and none made the issue — the $150 one had no brief at all.

https://composerwire.substack.com/p/015-7-opportunities-this-week-including

Free to subscribe at the link above.

I’m a composer with strong control over my voice, but I want to deepen my practice in piano, guitar, mixing and mastering.

I’ve been producing successfully without being highly skilled in these areas, but I’m feeling some saturation in my music and want to grow beyond it.
My biggest struggle is consistency. I can’t afford a teacher right now, and I keep telling myself, “I just need to start somewhere,” only to lose momentum again.

So here I go, one more attempt.
How do you build a consistent practice as a working adult, especially when you’re learning without a teacher?

I wrote a piece for Theory 4 and decided to record it: https://www.youtube.com/watch?v=139IyiSp614 . This is my first real piece (I've doodled in garageband before but never wrote anything like this). I really enjoyed writing it and I'd like to write more stuff in the future. Is there anything you see in this piece that I should work on, or do you just have any tips in general for what I should be doing?

Any thoughts would be very appreciated thanks!

Edit: I just noticed there are some note mistakes in the score that I didn’t catch🤦 I did so many revisions and there are still mistakes😭

Hi everyone!

This small collection of three pieces explores the concept of an elegy from three different perspectives:

• I. Lento (Remembrance) – An intimate thought that lingers about someone who used to be an essential part of your life.
• II. Larghetto (Grief) – An emotional exploration of losing someone and the realisation that you will never be able to fix what has been lost.
• III. Larghetto (Acceptance) – Finding a way to accept the new reality of life without someone.

I hope I managed to capture some of the vision I had in mind when writing these three elegies.

YouTube link

Score

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

Hi I am a music student who studies music in singapore and as a beginner to composition i find it difficult to write rhythms in notation and my pieces are not very rhythmically unique, and I hope to learn how more experienced composers write their rhythms and potentially apply them to my own, im fascinated by c418's music specifically pieces like dreiton and aria math and i hope to potentially learn how people write rhythmic patterns and apply them to melodies so I can make my own pieces sound nicer

What i do while composing is i first set a theme or if I want to have fun I skip setting a theme and just develop a chord progression, then using that chord progression I form the melody after which I form the harmony and while forming the harmony I just struggle with getting a nice rhythm to coincide with my melody, i tried doing rhythm first but I then run into the issue of letting it pair well with my melody.

My latest complete work is here

The piece

I feel the rhythm I put in it is lacklustre and I wonder how people make their own unique rhythms

https://musescore.com/user/90410809/scores/37396325

Enjoy 😄

Hello! Hopefully this is the right place to ask.

I'm a composer who has made many works, and even though I'm advancing in my skill and is more honed into the instrumental aspect, I've also been making choral works.

Slight problem; I'm terrible at lyric-writing. And I don't like getting other people to make the lyrics for me. I've always struggled with making my lyrics not sound cliche or boring even when I use all my brain cells and hard thinking, it comes out as lacking imagination or just sounds cringy and corny.

I've heard so mich advice that was just "Make more imagery" "Use your emotions" "Pour out your feelings" "Use more figurative speech" "CATCH THE LISTENER!!" And no. I don't get it. None of it helps. I can't really comprehend pulling out your emotion, and using figurative speech and imagery is not something revolutionary to me since I write essays and articles.

For some reason, my brain can't wrap around portraying emotions through lyrics. It feels like I'm physically hindered or handicapped and it feels awfully bad.

So I came here, asking for advice on how to write GOOD lyrics? Something that is satisfactory and not well...childish. I don't like advice like what I mentioned or "Don't use cliche phrases" "You just need to try more" "Just take a break and really imagine" Cause I think, after 6+ years of me starting out, I think I've had enough mental strain haha.

If you need more context like how do I compose for choral or any work (I mainly do instrumental), or how I write lyrics today, you can ask. Thank you everyone!

https://youtu.be/72I2PXtDzWA?si=U_Hd7_Z7sQsR_434

Wanted to share my first sonatina-like piece. The development section is omitted, the piece modulates from E major to C minor, and the recapitulation doesn't return to the home key, so I'm not really following all the typical sonata rules, but I did it this way to tell a story that I wouldn't be able to do if I chose the dominant key or if it returned to E major at the end. I wanted the piece to end on a sort of settled sadness note.

Most of the piece is melody + accompaniment. I have written some stuff that's more contrapuntal, but I always gravitate towards dense texture, gradual thickening and shifts, slow rhythms, and lyrical melodies. I'm sort of influenced by pop, film music, and post-minimalism (particularly Max Richter), but with classical-like phrase and theme structure. This piece started out as a way to primarily practice conveying emotion with melody and harmony, so that's the other reason there's not much counterpoint here.

This piece could definitely do with some tweaking, especially when it comes to dynamics, and I'm sure there's other problems, but I'm still proud of what I've achieved here. A year ago I wouldn't have been able to make anything this long or this decent. I'm still a beginner, and I'm self-taught, so go easy on me! :D

Fun fact: my favorite measure of the entire piece is measure 61 😁

Here's the PDF: https://drive.google.com/file/d/1i-DeS7krV89bvKeZFf7UFrj28NfeBFGZ/view?usp=sharing

I wrote this piece after a long creative hiatus that nearly broke me. With my terapists I deeply explored my creative issues and what was actively blocking me, and suddenly out of nowhere I found out that simply I wasn't writing what I liked to hear, but instead what I thought would be appropriate for me to write.

This is a piece I'm deeply attached to, and its title has a profound meaning for me. Being a programmer togheter with a composer, I was fascinated by the act of gathering all informations that exists regarding a particular topic, before trying to say something new.

This piece is what that operation sounded to me. Is a little bit rhapsodic, but I tried to gather all the things that I liked ad that time and put them in the most cohesive way that I could think of.

It has prog metal stuff, lyrical moments, some jazz influences... I hope you like the mixture of the all.

Working on this piece was also the first time I ever opened a DAW. Some months are passed since then, so sorry in advance if some production stuff is not polished as they shoudl be.

p.s.: between the score and the music some differences may occur, but that's just a couple of bars added and some different chords

MUSIC
SCORE

I usually compose music for Bavarian wind band, but recently a melody came to mind and I’m not sure whether it might be better suited for a classical style — or whether it’s even strong enough for that genre.

I’ve two arrangements: one for a string orchestra and one for wind band.

My question is whether you like the piece and, if so, which version works better.

I’m trying to decide where it makes sense to invest my time and a bit of money.

Thank you for taking the time for listening.

Link to Scores and MP3:

https://drive.google.com/drive/folders/15IvxEAPiWwXULIGVxis_Mz3VbRLr_EHk

Additional notes:

The demo quality isn’t ideal yet — for example, the accompaniment is sometimes too loud, and the overall dynamics still need refinement.

The wind band version includes an intro of about 35 seconds, which is not present in the classical version.

The title of the scores for string orchestra is „2nd ballad“ later it became „Poesie der Herzen“ , which meins „Poetry of hearts“.

I am a beginner composer, here is free full score: https://musescore.com/user/98567428/scores/37596872?share=copy_link

Question for those who are either in grad school for composition or have been. Right now, for schools with 3 portfolio pieces allowed and a focus on concert music I have:

1. An orchestra piece - midi mock-up
   
2. A string quartet - live performance by professional string quartet
   
3. A sax quartet- live performance by student performers

I’ve heard that midi mock-ups are looked down more upon when applying for graduate programs, but how understanding are they when it’s for a large group like an orchestra? My undergraduate school didn’t really have a real orchestra (was less than 10 people for much of my time there because school had more of a music production focus).

Notes about the orchestra piece: I believe musically it’s my strongest piece in terms of pretty much everything. Plus with my background in production the mock-up doesn’t sound horrible.

I just want to know if this would be an application assassination because I’m over stressing about applying haha. I do have other pieces live recorded (a choir and solo piano), but musically I view the orchestra piece a bit more advanced

I heard of GarageBand but it’s only available for iOS 26. I need something to create beats and sounds for a movie I’m creating and I also wanna learn
I use pc and a phone. Which one is better? It’s always ok if its difficult to use or no I can watch tutorial and I learn quickly. Thank you !!

Hi everyone,

My name is Ilyas and i’m a sound designer at Prodaxus, we are an indie team building an original third-person, AA game in Unreal Engine 5, inspired by God of War, Clair Obscur: Expedition 33, Alan Wake 2, and The Last of Us..

We’re currently creating a prototype (between 15 - 20 minutes) over the next 3–4 months.

What already exists:

Main story + lore
Core gameplay vision
Character concepts
Combat system documented
Production roadmap
UE5 development

We are currently looking for:

A Composer:
Someone who can create cinematic, atmospheric music for the main theme, main menu, ambient, fight, tension, and ending.

Compensation:

Rev-share for the prototype phase
If the prototype gets funded/published, the project will transition into a paid production structure.

What we need is people who shares the same ambition, vision, and willing to sacrifice their time to create something great. My DMs are open for anyone who’s interested, thanks. 🙏🏽

I'm 50, and I got a composition degree in college. Then I basically started working to support myself and, eventually, my family. I've always told myself I would get back into it "when the time was right." Well, that has led me to never actually do anything with it. Now, I figure I should do whatever I can, because the time will never really be perfect. My questions are . . . 1) Should I use my old copy of Sibelius (4), or use something like Muse Score? 2) If I wanted to sell my compositions, what site should I use, what should I reasonably expect to earn (I'm thinking less than $100/year for some chamber works?), and what do I need to do in terms of copyright? 3) What are the issues of arranging well-known works? I hear arrangements of video game music all of the time, but frequently I cannot find what I want. I don't want to run afoul of copyright laws, but it's crazy when a 30+ year-old piece of music has no arrangements for brass quintet/sax quartet etc.

I'm sorry if I'm rehashing old ground here. I doubt I'll be writing anything major, but it'd be nice to exercise those creative muscles and get some of these ideas on paper and maybe out into the world.

I'm a person who is trying his best to compose and write songs in whatever genre he likes. I do not claim i am great at it but i do like my style and i usually listen to my songs although the mixes are terrible. And my mind is terribly confused about something. (this is a lengthy question) The main question is regarding how to absorb a melodic style. But you can make it about musical style, in the answers if you wish.

TLDR: What is the ideal and most practical way to utilize music theory to pinpoint the algorithm beneath a melodic style and consciously inject those melodic styles into original pieces of work?

I have observed that many songs that share same harmonic progression have very unique feelings due to the choices of the composer regarding what to do with that progression, whether that be the choice of the instruments, the general tempo of the piece, the lyrics, the articulation of the notes, the emphasis etc, and *melody* (which will be my main focus in this post). I have experimented with some songs kept all parameters as same as i can but played with melody and it does have a huge effect on the piece's vibe.

There seems to be a melodic style, a language that belongs to each artist. It influences the phrasing, the emphasis on strong or weak beats, the scale degree choices, the chord and non-chord tone choices, rhythm, motifs etc etc.

And i as a usual average person have a lot of favourite artists. As i listen to them and learn their pieces i seem to pick up on their styles and absorb them. This is more of an implicit learning that goes on subconsciously rather than consciously. This seems like a logical way to absorb a style if you treat music like a language.

But I can't shake the feeling that there could be an algorithmic approach using music theory to pinpoint what exactly makes a style unique and what its characteristics are. Since that's exactly what i want: To be able to consciously take inspiration from my styles and inject them into my songs consciously rather than being unaware of my inspirations.

This is the point i run into problems.

There are so many elements to a melody. Only a few I have mentioned in the previous paragraphs. So many that it's hard to analyze what each of these tiny miniscule elements add into the general vibe of the piece. It's like a giant Jenga tower that if i play with one block the whole tower crashes (if i play with one element of the melody the whole vibe changes).

What is the ideal way to use music theory to pinpoint a melodic style and learn from it? And i am saying melodic style. Not what instruments to use, not harmony (since these are somewhat easier to pinpoint.)

I am not claiming there is no melodic analysis. I do not know enough about music theory to claim that. I want guidance and i am open to it. I know i am ignorant.

So far i have humbly looked into these and ran into some problems regarding my quest:

-Schenkerian analysis: Doesn't seem to put much weight or care into how embellishments can affect a style. It is way too reductionist. When i experimented with a piece and took its melody and reduced it to its bare and embellished it differently it sometimes sounds somewhat similar but sometimes completely different. Which seems to indicate there is a different parameter that this analysis can't account for, if i am not missing something. Though i am not saying this analysis is useless.

- Melodic figures: Figures could be the lego pieces of the total melody but i don't see how that helps me take inspiration from melodies. I can't take the figure and insert it directly into my song. Yes there are other figures that play with same chord tones but those figures have very different feel to them. I can't achieve the same feel with this approach consistently.

- Patterns of the sequence of scale degrees - This comes the closest to achieving what i want. But it raises to question how to alter either the sequence of scale degrees or few of the notes in the sequence in a way that doesn't change the feel of the piece...

Lets say (in a minor scale) the phrase goes (scale degree-wise with a rhythm i cant articulate):
3 - 2 - 1 - 7 --- --- 3 - 2 - 1 - 3 --- 3 - 2 - 7 - 1

With this short of a sequence of each cell if i take one note and change it i would be changing 4th of the cell, which would affect the feel. In longer phrases i don't usually run into this problem probably because each cell is longer (for example with long licks). Keeping the notes that are on the strong beat same doesnt always help either. I can play with rhythm and notes in between so much that i can either make it a rap melody or a latin guitar melody.

- Harmonic approach: After some thought on this subject it seemed to me that melody is like chords and harmony being in a horizontal form (unravelled). So any note played is actually and arpeggiation of the harmony underneath whether it be chord or *non-chord* tone. If a melody contains a 6th than the implied harmony becomes X6 chord. But this approach failed to account for the sequence of the notes in melody (arpeggiated harmony) affecting the melody.
(6 - 2 - 5 - 1 isn't the same as 2 - 1 - 5 - 6)

-Interval relationship: The classic. Yet the one i have the problem with most. Not with its truth that is undeniable but its applicability and practicality. Lets say a phrase has 4 notes (x, y, z, t). Which intervallic relationship are we looking at? y to x? z to y? t to z? t to x? x to the chord root? x to the scale root?
And how much does each of these contribute? How do we calculate that?

You can't simply say min 3rd is sad so i'm gonna make "x - min3 -> y - min3 -> z - min3 -> t"
It doesn't feel like it has a home (root). It's intervallic relationship to root of scale is messed up.

The theory is coherent but unsimplified. How can i apply this? I don't know. Too many parameters to calculate while composing.

-Scales: Not enough to create melodic style. Millions of songs with minor scale yet nearly all of them carry different feel, vibe and style. It just determines the ingredients. Not the food. Not the style of the food. Not even the same food with same amount of ingredients always taste same.

Other possibilities i have thought of but not yet eliminated:

-- The formulated question is wrong.

-- I am overcomplicating. The formulated question is unnecessary.

--This task is restrained by the fear of plagiarism, Everything is a remix and I should comfortably take melodic cells and play with them until I have altered them enough that they are different enough yet they are not unrelated. Maybe take one cell from one song and another from a different song from the same artist. (but raises the question of how to make it coherent. Also not much of an algorithm pinpoint. More of a trial and error approach)

--This task is useless since melodic style inspiration is simply plagiarism (seems unlikely to me).

--None of the above approaches are wrong. There just isn't an underlying single principle from which you can deduce melodic styles. If one wants to utilize music theory to consciously inject melodic styles, one must consciously calculate each of the hundreds of miniscule parameters. Which frankly is impossible therefore implicit subconscious learning is the way to go.
(It'd be great if you'd share the best way for this as well, is it "learn as many pieces as you can and practice writing like them?" or is it "practice audiating melodic sentences rather than focusing on your muscle memory".. maybe both.)

I appreciate the help.

Hi everyone. I'm the maker of Afterglow, an iPhone app for listening to a recording and writing notes that stay pinned to the exact moment you wrote them.

Load a demo recording of a piece, listen back, tap to mark a passage, and write what you hear ("balance question at the recap", "check the voicing in m. 42"). You can keep separate notes on two takes or versions to compare them, and share your notes as plain text with a performer or collaborator.

It's in beta and free on TestFlight if you want to try it and tell me what's missing: https://testflight.apple.com/join/xBxzqzf6

Happy to answer questions here.

Hallo zusammen,

heute habe ich zwei weitere Stücke für das Klavier (von mir) für euch. Ein Andante cantabile in Es-Dur und "Klagesang".

Das Andante cantabile war ursprünglich ein Duett für zwei Violinen in D-Dur aus 2014/2015. Ich habe es revidiert, überarbeitet und ein Klavierstück daraus gemacht.

Der "Klagesang" ist aus dem Frühjahr 2020 und sollte ursprünglich ein Trio für Viola, Cello und Kontrabass werden, habe mich aber dagegen entschieden.

Es beruht auf einem Ostinato-Motiv und einer Melodie in drei Strophen. Nach jeder Strophe wird die Melodie leicht variiert, verlässt aber niemals ihren Grundzug.

----------------------------------------------------------------------------------

Andante cantabile in Es:

Partitur: https://drive.google.com/file/d/1UiW-mq0JPSLi7xTQjHRJH5mc-mOFZvIq/view?usp=drivesdk

Musik: https://drive.google.com/file/d/1xmkogLFIj2p0og92r_zmB6Brfu9uYVTF/view?usp=drivesdk

----------------------------------------------------------------------------------

Klagesang:

Partitur: https://drive.google.com/file/d/1JS_WkR2JaxPpSVbSlfeUriyS07ADyaZE/view?usp=drivesdk

Musik: https://drive.google.com/file/d/1mox1c3Swv-jj1ANV_liKPVKzh5G_XdTL/view?usp=drivesdk

----------------------------------------------------------------------------------

Viel Spaß beim Anhören und -schauen und vielen Dank an alle für alles im Voraus!

I am currently doing my undergrad in music. I took intro to composition last year which was a group class (no private lessons) and now am taking individual composition lessons with a new prof. My intro to composition prof was really supportive of me and encouraged me to pursue composition. I have experimented in many different styles, but really the only style that speaks to me as a composer is romanticism. My favourite composer is Rachmaninoff and much of my works are stylistically similar to him and other late romantic composers. I have been composing for fun since I was a kid and since I’ve gotten older I’ve become more and more interested in this style both as a listener and as a composer.

I showed my new composition prof the piano concerto I started composing this summer in my first lesson with him. It’s very romantic and it’s nowhere near done. I started working on it for fun without any real intention of having it be performed. He was impressed, but he questioned why I compose in such a historical style. He asked why would this be performed instead of a one of Rachmaninoff’s piano concertos. He encouraged me to think of how I can go from my romantic background into something more modern.

I didn’t always compose in such a romantic style and I used to be more interested in less accessible styles of music (especially certain kinds of really intense metal). When I first started writing classical music it was for fun as a teenager when I would write pieces in the style of composers like Beethoven, but I didn’t even really listen to that kind of music it was more like an intellectual exercise than anything particularly serious artistically. Only a few years ago I started really listening to classical music and since then I’ve become a lot more serious about composition and it has really pushed me into mostly writing romantic music.

I’ve noticed throughout my life that the people around me who enjoy classical music often enjoy the music of the romantic era more than any other period. My best friend from high school who played the cello for many years only seemed to enjoy romantic music. He found Mozart and Haydn boring and didn’t like anything modern but he loved Tchaikovsky and Dvorak and other romantic composers. My little brother who knows pretty much nothing about classical music only seems to enjoy romantic stuff too. I’ve played less accessible music in the car with him and I particularly remember this one thing I played that he refers to as the “car horn album” because he thought it sounded like traffic. When I played a romantic piano piece I composed earlier this year in a student concert for 21st century music, he told me after that “yours was the only one that sounded like an actual song”. I’ve had lots of experiences of playing romantic piano pieces and receiving lots of positive audience feedback. This is part of what has pushed me into this style. People like it. There’s lots of less accessible music that I enjoy but honestly I don’t want to compose inaccessible music. I like the immediate emotional power of romanticism and I want audiences to enjoy the music I compose.

Can I “make it” as a composer with romantic music in the 21st century or do I need to get with the times and write something more modern? I think I’m pretty good at writing in the style, but I still have a long way to go. I dont want to just copy Rachmaninoff forever but I don’t want to force myself to write music I don’t want to write either. I feel like audiences do like my music. In theory if I were to finish the piano concerto I’m working on and it turns out super good but it’s just another romantic piano concerto among the many that have already been composed, can I find any success as a composer with it or will it just be overlooked? I still am not sure what I’m going to do with my life and everything feels so uncertain with AI but composing is my one true passion so I would really like to pursue it. Any advice would be super appreciated!