Category Archives: Music composition and computer software

The universal method to compose music (2)

What did we found ? Oh yes, an universal method to learn how to compose music…!

So if you systematically apply – with perseverance – the 10 points listed last month, you should then be able to compose your own music and to successfully publish your CDs. Let us analyze those points in details.

Point 1 is “A regular listening to various musical styles”.

This seems elementary: if you want to compose music, first listen to music. But let us be more explicit about the reasons behind this.

A language is constructed with basic elements and those simple elements are structured into more complex forms, themselves being assembled according to various rules and practices. For the English language, the basic elements are the 26 letters. Words are more or less rigid constructions based on several letters. Phrases are structured with words and various rules apply to construct them. Phrases are then assembled into paragraphs and chapters to finally constitute book.

At each construction level, rules apply. But one observes that those rules are less and less restricting as one goes up in the construction level. For instance, when constructing a word with letters, there is little freedom. Writers sometimes create neologisms, but this is quite limited and it takes time to expand these new words into culture and finally the rule that strictly applies is to take only the words from the dictionaries. At the level of phrase building, there is much more freedom because one can combine all existing words, so long as the grammar rules are followed. These grammar rules are sometimes slightly bypassed to create style effects, as in poetry and song lyrics. When we get to the level of a book structure, rules are very general and the form is free. Rules may be found on how to introduce and present a story, but the story itself does not have rules because it comes from the writer’s imagination and it is there that the writer expresses his/her art and that his/her personality really appears.

In the case of music, a similar type of construction may be observed. Basic elements are notes, rhythmic values and various sonorities used to play (violin, piano, trumpet,…). Notes and rhythmic values are limited in numbers. Notes are combined into chords, chords progressions and melodies. Even if chords can be built in vast quantities, their numbers is practically relatively limited. These chords and melodies are combined to form a full orchestration and into various chorus, verses or symphonic movements for instance. Here also, the basic rules are more restrictive than the higher level construction rules.

What do we observe in this analysis? With the complexities of constructed forms, the associated rules become more general, less restrictive and the author’s or composer’s imagination may even better express itself. Technique becomes progressively art. In this context, we could define art as the ability to communicate a message in a form that respects the commonly accepted communication conventions by the receiver of the art work and in a form that will be appreciated by the receiver.

The expression “commonly accepted communication conventions” simply means what people may understand and accept in terms of communication. Example: grammar rules are part of the commonly accepted communication conventions. Somebody speaking by inverting all words of the phrases would be badly understood by others. He would be progressively rejected and excluded by others because one would not understand what he says. In the music area, he would not have success, because the people would not understand his music and would not buy his compositions.

This does not mean that rules need to be known explicitly by the author. Somebody who can not read or write but who can express phrases correctly is applying the commonly accepted communication conventions but without necessarily knowing the grammar rules, the verbs, the subjects, complements,… He has learned to structure his phrases by practice, trials and errors. It is like a kid learning to speak. In the beginning he is not told the correct grammar rules but he is corrected each time. He eventually is able to speak correctly by duplicating the phrases he hears and then by adapting them intuitively to what he wants to say and by combining phrase parts. He assimilates the rules without knowing them explicitly.

This is an interesting fact to note: one can assimilate a communication technique without knowing the rules explicitly, just by listening how others use it and then trying it oneself and progressively correcting the errors and the wrongly understood communications.

The method is not simply a copy of what you heard. It is an intelligent copy, taking into account the numerous phrases heard and adapting them, cutting them and combining them in a thousand ways to structure the phrase that will express what you want to communicate and that will be in a form asked by the receiver so that he can understand it. The process may be long and may need a lot of trials, errors and corrections. This learning method is based on observation and intuition, because one creates oneself unexpressed intuitive rules that are then used to express one’s communication.

So you will find music composers who do not know music rules explicitly. By practicing, listening and trying, they could intuitively assimilate the rules on which music is constructed. They are able to express themselves and may have great success in doing so.

On the other hand, you will find people who, while perfectly knowing numerous theoretical rules, did not succeed assimilating them in their musical intuitive practice and who do not compose or whom compositions do not reach people. They do not succeed in composition because in our above definition of art they did not add their own message to the technique that they nevertheless very well master. Composition becomes then a theoretical and intellectual exercise and no message is associated to the technical practice.

On this basis, ARPEGE presently develops a theoretical inspiration model for musical composition. The principles of this model are based on the fact that each musical element or musical structure may create an effect upon the auditor. This set of effects may be described as a personal musical data base. We will come back to this next month in more details.

This is why point 1 “A regular listening to various musical styles” is so important while learning music composition. By listening to various music, you assimilate new possible musical effects and they accumulate into you personal musical data base from which your inspiration will draw.

Dominique Vandenneucker

Designer of Pizzicato music composition and notation software

Universal method to compose music (1)

Is it possible to learn to compose music or is it only a gift you possess or do not possess ?

This question is probably worrying more than one musician or beginner. Music must seem strange or mysterious to those who only know music by listening and appreciating it. How to line up notes, rhythms and chords to create such a harmonious set of sound ? Then you say to yourself you will never get there. STOP ! Such an attitude is just the same as asking yourself why you can not write Japanese poetry if you never learned Japanese. It is a matter of steps : to go up the ladder, you start on the first rung, not on the tenth (which would also seem impossible to reach).

ARPEGE has always answered this question in a categorical way : Yes you can learn to compose music, no matter how not talented your are. Now the practical difficulty is to design a method that will work for everybody and that would be flexible enough to:

  • embrass all musical styles (from classic to hard rock, indian music to acousmatic music,…) and all inspiration forms,
  • be accessible to any person, even without musical background

I believe such a method is possible and must be formed by a well ordered series of steps, mastered one after the other. Even if the tools of Pizzicato today are still limited compared to a “universal and ideal method”, I think that such a method, to be effective, shoud at least contain the following elements:

  1. A regular listening to various musical styles
  2. A good understanding of what sound is and how its fundamental properties influence the musical auditing impression
  3. A good understanding of the written musical language in its most common form : the music score
  4. The learning and practicing of a musical instrument, progressively in relation to the score (reading and writing of scores for the instrument)
  5. The practical study of one or more music software and also the music keyboard (if it is not your main instrument)
  6. The progressive practice of music composition, on the grounds you learned in the above steps, first based on simple and structured methods
  7. A practical study of the various music composition theories (harmony, counterpoint, orchestration, serial music,…)
  8. The listening and practical analysis of application examples of those musical theories or any other creative method
  9. A progressive development of one’s own musical universe, of one’s own composition method build on the basic understanding one has acquired from music
  10. The musical creation work itself : your career as a composer, including learning how to disseminate your music and make your compositions known.

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I don’t mean that to compose you necessarily need to learn or master all these points. Not at all. But someone who would study a practical, complete and progressive method based on all 10 points above could not help but really publish his own CDs, no matter how not talented he was before beginning. The purpose of ARPEGE is to create such a method, the Pizzicato software being the tool to reach it.

You can assume that if you really want to compose something personal and that would be well received and really have success, you will need to put the expected effort on it. The easy way does not exist. You need to work on it and persevere. Stable successes are based upon work and a full understanding of the subject, like in any other areas.

It all depends on the goal you have. Is it to entertain yourself, to impress friends, to really understand music, live it and create it, to expresse yourself through it and in full knowledge, to publish your own CDs, to become a professional composer ? Each goal is possible and valid. Just be honest to yourself : what is your goal ? Then apply the necessary method to reach it.

The point is, if you know nothing about music and you really want to become a composer and successfully publish your CDs, do not expect to reach that with a “magic wand”. An important work is waiting for you. But the path and the results will be of high value to you : you will understand music and will be able to express yourself with it.

The “Professional” or “hobbyist” aspect does not necessarily enter into consideration, because even a hobby can be practiced with the greatest care. The real question is “How much do I want to understand music and create my own music ?”. By using an easy and/or automatic composition software, you will enjoy it, you will be able to learn music and make some nice personal compositions. Such softwares may bring you a lot of things. But don’t expect the result of it to become number one in the charts or to be selected as the music of a success film.

You may also envision things by steps. Your goal may increase with your knowledge. If in the beginning you only want to better understand music and entertain yourself, do just that. If you get more involved in it, increase your goal and study music further.

Our long term project is to give you the possibility to reach those goals, with tools contained in Pizzicato (present and future releases), with more progressive, personal and specific music courses.

Next, we will look further into the 10 above points, while also orienting you to already existing resources in Pizzicato and on the Internet. Until then, take the time to define your own musical goals…:-)

Dominique Vandenneucker

Designer of Pizzicato.

Managing sounds to compose music

We saw the various possibilities offered by a sound card, as well as the methods used to generate sounds.

While working with a MIDI software (like Pizzicato), it is useful to select, collect, handle and play instruments sounds with which you want your scores and composition played. How ?

I suggest the use of the SoundFont standard, created by the Creative Labs and Emu companies. It is a well known sound format and you can find lots of sound libraries, some free and some to buy. Let’s see the practical steps to select your sounds, create a bank and assign them so that Pizzicato can play your scores with your sound selection.

The first phase is to select your sounds. This needs to steps : find sounds and listen to them. To find sounds, use your prefered Internet research tool (Google, Yahoo, Msn,…) and enter keywords “Free SoundFont”. You will rapidly find numerous sites with SoundFont instruments and effects. Some are good, some are bad. You must then listen to them and test them.

sound production

For this, you can use the Virtual Sampler 3 software. You can download its demo version at Once installed, you may open a SoundFont file and listen to the sounds with a musical keyboard displayed on the screen.

When installing the software, specify that you want the “Speedsoft Midi Cables” installed. With them, Pizzicato will be able to send the notes of your score to Virtual Sampler 3. These “virtual cables” may then be selected in the Pizzicato Option menu, Midi Setup… and set in the MIDI output.

You may proceed as follows to select your sounds :

  • Add a directory in your hard disk for the sound files you download, for instance C:\SoundFonts\Download
  • Use a search engine to find sites offering SoundFont files
  • Download a sound in your directory. SoundFont files have the “.sf2” extension
  • Start Virtual Sampler 3 and click the “sf2” button in the middle of the screen.
  • Using the opening dialog, select the downloaded file
  • The sounds contained in the file appear in the main part of the screen. By clicking a sound, you may then listen to it by using the musical keyboard displayed on the screen. If the sound looks good for you, move the file to another directory, for instance C:\SoundFonts\My Sounds
  • Continue to select your prefered sounds for each instrument family you use,…
    The next step is to assemble those sounds into a personal sound bank that can be used by Pizzicato (or by any MIDI software).
  • The idea is to take each sound you have individually selected and create a unique SoundFont file (.sf2) that contains them all.

For this purpose, you may download the free software “Vienna SoundFont Studio 2” on the Creative Labs site at ( ). This software lets you create a sound bank and fill it with sounds from various other banks and then save them in one unique file.

The main problem is the correspondance between MIDI and the created SoundFont file. The Vienna software lets you assign a Preset number (0 to 127) and a bank number (0 to 127). First assign all sounds to bank 0 and for the preset, respect the General Midi numbering (you can find the list at but be aware that some user interfaces use a number from 1 to 128 and some others between 0 and 127; subtract or add 1 accordingly).

For instance, if you find a good violin sound, assign it bank 0 and preset 40 (41 minus 1 for the violin, see the list). In this way, you stay compatible with General Midi and the MIDI files you create or open stay standard on the sounds used.

If you create an extensive sound bank, for instance by adding 10 different violin sounds, keep the same preset but use other values than 0 for the bank number, while keeping the 0 bank for the default violin.

While doing this, write carefully on paper the sound table (preset, bank and instrument name), because you will need it to create a compatible synthesizer for Pizzicato.

To use the Vienna software, read the help section of the help menu. This program also helps you to create Sound Font files starting from any Wav or mp3 file.

Once your SoundFont file has been created, you need to play it with Pizzicato or a MIDI software. If you have a recent SoundBlaster card (from AWE 64 up), you may use the utility program of the card to load your sound library into the card, because the card has an integrated SoundFont player. For details, see the documentation and the online help of the card (Start, Program, Creative) to know how to load a file into your card.

If you do not have a SoundFont compatible card, you may use a SoundFont player software. Virtual Sampler 3 does this, but there are others too. Search for them on the Web with expressions like “SoundFont player, SoundFont reader”. In any case, the software must give a direct MIDI link, i.e. adding a MIDI output port in Windows so that it can be used by Pizzicato or any MIDI software.

In Pizzicato, the last step is to select the MIDI output (Option menu, Midi Setup…) which corresponds to the SoundFont compatible card or to the MIDI output going to the SoundFont player software.

For the Pizzicato Light and Beginner versions, the only possible synthesizer is the General Midi, so you need to respect the General Midi preset numbering as exposed here above.

Fot the Professional Pizzicato version, you may create a new synthesizer which answers to the various sounds assigned to the non zero bank instruments. Refer to the lesson on synthesizers on the screen help or on our site at page Use the list you have prepared while selecting your sounds in Vienna.

sound production2

The use of the various softwares renders the task more complex and what we described here is not a simple procedure. We envision tools to create your personal SoundFont files so that Pizzicato may handle itself this sometimes complicated task of assigning presets and banks. This article was designed only to give you the main steps of the process so that you can personalize your sounds and use them with Pizzicato.

Concerning sound banks, if your needs are high regarding the orchestral instruments quality, you may orient yourself to the EW Symphonic Orchestra software which contains an impressive quantity of orchestral recorded samples. The software exists in various versions between 300 and 3000 $US. You may find information at The demo files show the quality of the sound result. It seems that the software uses a personalized sample player and needs a powerful machine.

Dominique Vandenneucker

Designer of Pizzicato.

The three levels of approach of music composition

To contribute so that people make more music. That is the goal of ARPEGE in term of cultural contribution. I deeply believe in the aesthetic power of music and what it can bring. To create is to live. To compose is to express oneself. Each one should be able to do it in one way or another.

Let us continue our discussion about composition. We had seen that music creation could be broken up into three phases, which one could also regard as abilities to acquire to express oneself creatively in music:

  1. The methodical location of sound effects
  2. The possibility of selectively reproducing them according to what you want to express
  3. The coherent construction of musical work

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One can also consider the time dimension, the duration of the musical impression. One will find in particular in the articles of Michel
Philippot on composition, three levels of approach and appreciation of music, which I would express as:

  1. The sound effect for itself (instantaneous effect)
  2. The melody, the rhythm, the chords forming a structured musical sentence (sound effect covering up to several tens of seconds)
  3. The structured development of a complete musical work (sound effect covering a full piece of music)

With regard to the first point, by using a synthetizer, you can spend some very pleasant moments discovering the various sounds. These sounds can generate by themselves pleasant and aesthetic musical impressions. A chord of strings with a good reverberation. Some notes of such or such instrument. Some sound effects of a synthetic type. All that can contribute to express simple but effective impressions. You can also combine several sounds and the possibilities multiply, the atmospheres are built and grown rich. However, we are yet only at the first stage: considering the sound effects for themselves, apart from a more elaborate structure.

You can make a systematic exercise out of it. Discover the various sounds of your synthetizer or sound card. With a musical keyboard, have fun selecting each sound, then listen to them in the lower, middle and higher ranges of the keyboard. Locate the effects they can create, the atmospheres they release, the thought they generate. Try to play several notes one after the other, slowly or quickly. Try to play several notes of the keyboard at the same time. If you do not know about chords, test and try. See while groping whether by playing two close notes, far notes, intermediate notes, you can get a sound effect you like. write it down. Again search, combine, play, test… Do it again the next day, two days later… the repetitive side will lead you to discover elements which you did not hear the first time.

Do not neglect this simple exercise. By practising it regularly, it will help you to approach the next phase, because the various musical effects will be added to your musical “memory” and this as much as you practise it. Don’t forget that this musical “memory” will be the data base in which your inspiration will try to find elements to express your music. Fill in your data base!

An important point is to be noted as of this moment. To get an interesting and enriching effect, you need a sufficient and well balanced volume level. And this independently to the quality of the synthetizer or sound card you have. You must be able to feel the low notes make you vibrate, the sound must really go through your room. This is related to the distribution of sounds in your surrounding space. Your balance should of course be found, the level which is appropriate to you. But with little experiment, you will note that a minimal volume is required, without which the created effect is lost. The nuance is of the same level as the difference there is to listen to an orchestra during a concert or to listen to it as a background music while waiting at the post office… If post offices were equipped with a good sound system with a sufficient volume, it could become a pleasure waiting at the post office!

If you only have a simple sound card, see that you to get a cable to connect it to your hi-fi system with a sufficient volume. The generated effect will be definitely more expressive than with a 10 centimeters table loudspeaker. You will gain in motivation and musical pleasure. Of course, if you have the possibility, a good quality sound card, or even a good synthetizer will motivate you even more by considerably increasing sound quality. It is a question of balance and means.

By working this exercise regularly, without forcing yourself, at one moment or another, by search and groping, you will find some notes forming a melody, something which you like and which you would like to be able to reproduce, memorize and develop. It will be the beginning of the next phase: building a structured cell, i.e. a time sequence of several notes and sound effects. The use of a musical software will be highly advised at this step. You will be able to record this small melody on a staff, then while listening to it, you will be able to continue the preceding exercise by changing instrument and by seeking which other sound effect could reinforce or supplement the first.

Once the main melody is established and reinforced by some other instruments (start with 1 or 2), you can then develop this element. Developing is simply taking again the same element by modifying it in various ways, by adding new effects to it, while keeping a sufficient similarity so that the link remains present with the original element. These modifications can be of various natures: change of rhythm, the pitches of the notes, transformation of the melody by various formulas, time inversion, rhythmic division, change of chords, sonorities, sound effects which accompany it… Complementary themes can also be added, developed, as long as a link of some nature can connect the whole as being part of the same coordinated structure.

notes écouteur crayon

One could in some way compare this method to a writer. Before writing a book, he must initially know enough words and their exact and various significances. He must be able to build complete sentences and to connect them. Then, with practice he can build a whole story. He keeps an overall picture, a common link which enables him to design each chapter and in each one of those he can align the sentences so that the chapter expresses what it must express to contribute to the full work. It is with this global idea of his book that he can then align word after word to build his work.

Arpege currently develops software modules making it possible to apply this working method. They will be integrated in the future versions of Pizzicato (see

Dominique Vandenneucker

Designer of Pizzicato.

Music composition, rules and inspiration

Approaching music composition is a goal that lots of musicians or non musicians would like to realize. Is there a systematic method which, if followed to the letter, would make it possible for a person to compose?

Musical inspiration is not really explained by theory. It is simply the creation or combination of sounds in an original way, with a specific goal or simply for fun. If the result is appreciated by others, those can always try to explain why it sounds well, why it is well built, etc. But this “afterwards” explanation can be misleading, because one could conclude from it that the musical work could have been deduced from the theoretical explanation, whereas it is the reverse that occurred.

If it was only related to logic (whereas it is related to esthetics above all), it would be all right to assemble all musical theory rules and integrate them in a software. The computer would then be able to have inspiration. Unfortunately, its “inspiration” will be limited to copy, modify or combine the inspiration of those who, by their esthetic sense, succeeded to really create and whose works allowed to deduce rules of musical theory.

Therefore, do not fall into the trap: inspiration is above theoretical rules. In other words, if you like some measures of your musical composition, keep them even if these measures do not satisfy any theoretical rule at all. The process of music evolution is thus the following: inspiration makes it possible to create musical works. When these works are appreciated, people deduce from it some theoretical rules or musical construction systems. Then these systems and rules are studied by others. Where the latter fail, it is when they think that they will have the inspiration only by studying these systems of logic. They forget to place their share of esthetics in it, the essential source of musical inspiration and sound effects.

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Do not fall either into the opposite trap of rejecting all rules. Rules can guide you, especially when you lack experimentation in composition.

One could look at music as a succession of distinct, small or great sound effects, assembled to form a more global sound effect: a musical work. For example, the passage from a G7 chord to a C chord: it is a sound effect in the field of combination of several sounds. It produces a sound effect that the ear generally appreciates and it produces a specific atmosphere. Similarly, each sequence of two chords is a sound effect. The use of such or such rhythm is a sound effect. Combining two instruments creates a sound effect. Each one of these small effects can combine to create a larger sound effect, which is then characterized by a specific personality.

A melody is only a set of notes in a specific rhythm sequence, each one being a specific sound effect. The combination forms a melody, recognized among all others.

Thus music is a construction of sound effects sufficiently personalized so that a piece is unique and distinct from the others, while communicating what its composer wished to communicate.

The spirit of composition is thus to create sound effects to express something. Any method which produces that is a valid method. If a musician plays by ear and if, by research and work, he methodically manages to isolate the various sound effects of his instrument and if he can then selectively produce them in a sensible way according to what he wants to express, then one can say he composes music.

Let us break this into three phases:

  1. The methodical location of sound effects
  2. The possibility of selectively reproducing them according to what you want to express
  3. The coherent construction of musical work

The sound effects can be located in various ways. Listening to lots of music with an attentive ear will help you. But to do only that is likely to make phase 2 very difficult, even impossible, because you still cannot connect the sound effect to what you need to do to produce it. The practice of an instrument will be complementary, because it lets you associate the desired sound effect to the technique to produce it. Listening and playing will give you basis for inspiration, but you also need some ability to synthesize and listen so as to mentally classify and integrate the various effects your instrument can produce.

Phase 2 is more active. It implies that you have something to express, to write into music. You can start from almost anything (an emotion, a landscape, an idea, an atmosphere…). Then the trick is to find, in the sound effects you assimilated, the right combination that expresses your message and which is specific to you. It is your capacity of choice and creativity.

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Phase 3 requires more experiment and comes gradually. It concerns the ability to develop a coherent work, where every element goes well together. It is the link that will bind the ingredients. One needs a link between the various passages of your work. This link can be rhythmic, melodic or be based on combinations of sound effects. Start with relatively short pieces before writing a whole symphony.

These three phases are interdependent. Only the practice of composition will help you to refine these three phases.

The purpose of any musical rule should be to help the composer to combine sound effects while helping him to free his musical imagination and stimulate his inspiration. Three types of rules could be met, corresponding to the above described phases. And the software tool can be very helpful in this direction. The current version of Pizzicato music software (see already offers various tools. The next versions will continue in this direction, the goal being to help you to compose.

Dominique Vandenneucker

Designer of Pizzicato.

Music software ‘User Experience’ (UX) – Definition and example (the case of Pizzicato music composition and notation software)

User experience in the field of music software

The words ‘user experience’ refer to musical, social, psychological and cultural processes. These ones are the main aspects of the user experience.

The user of a product is here to experience it, it is his/her wish and he/she knows it. In the case of music software, it simple means that people learn music because there is value in the process (like source of revenue, prestige, well-being, etc).

They use a software because the software offers automated tools which help them in matter of music knowledge acquisition and practice. It is as simple as that.

UX is related to psychological processes. In the case of music software, it is because new media technologies have created new territories, spaces and affects (emotion, relationships, and so on).

Finally user experience includes cultural processes. In a high-quality music software, it appears when you open a program and discover 20 sheet music models which can help you to learn 20 music styles (it is the case in Pizzicato music composition and notation software – that you can discover at

Pizzicato music composition and notation software user experience

What could I write about our clients UX that they did not say? I let them speak about their passion for Pizzicato music composition and notation software. After that, I will give you URLs

I just reproduce 5 testimonials found between countless positive ones amongst our 13 000+ unique users:

Philip Thomas (East Dummerston, VT, United States) – Lead music engraver Oxford University Press, New York Office, 1999-2005. Currently working as a freelance engraver for the finest classical music publishers in the U.S. and Europe

“I have used the Pizzicato program for a number of years now for its extensive composition environment which I find to be incredibly fast and intuitive to work in. My flute quartet “The Wissahickon at Dusk,” which recently premiered on Maine Public Radio in the U.S., was created using Pizzicato. I enthusiastically and whole-heartedly recommend this brilliant program.

Anyone looking for affordable music notation software will find that Pizzicato has powerful and comprehensive features. But what really sets Pizzicato apart is its vast array of compostion tools which are simple to use yet profound in scope and depth. Dominique Vandenneucker has designed a brilliant program which is sure to grow in stature and popularity as more users around the world spread the word about this remarkable software.”

Blair Ashby (Denver, Colorado, United States) – Music producer and sound engineer   

“I like that Pizzicato is so different from a midi sequencer that it makes me think different about music and my compositions.  Thank you, I think Pizzicato will help me get to the next level.  I finished composing three different CDs in December and realized I was bored with my musical style so I started looking for a program which would make me think different.  I am glad I purchased yours. On Friday last week a small record label asked me for three songs and I am going to try to do the foundation work in Pizzicato.”

Zlatoje Pajcic (Hamburg, Germany) – Music composer and publisher

Pizzicato is the most modern software for: scorewriting, composing, music editing, music processing, experimenting, chord recognition, generating the score based on chord recognition and using the custom libraries, easy combining of several scores to play together on the same chord progression, very big scores with unlimited number of staves, playing ornaments and grace note, graphical editors, work with many documents at the same time, very good manual, very accurate MIDI, up to sixteen MIDI in/outs supported and much more… »

Laurent Haye (Brussels, The Heart of Europe), Coordinator at the Royal Conservatory of Music

“I use Pizzicato every day. It is an excellent tool for all musicians from the amateur to the professional. It is mainly in the domains of sheet music publishing and creation of music files that I know this program, but I am always surprised by the power of the other tools offered to the user. Honestly I just could not do without it. And thank you to Dominique who always listens to his “Pizzicatists” so that the software is developed on the basis of the requests and interests of everyone.”

Mona Lei (Switzerland, Geneva) – Composer, certified music teacher (music theory, harmony, counterpoint, etc.) educated at the Music Conservatory of Bucarest.

“While searching for a music notation software to transcribe the manuscript of one of my classical compositions, I was informed about the existence of the website, by a friend working in computers. For my first experimentations with Pizzicato I realized that it had a lot of qualities: fast access to music writing technique, practical aspect of this technique, easy to use and in the same time a real possibility to exploit musical richness.

Really, what I immediately appreciated (compared to other softwares I used before) was the natural of Pizzicato. It was like using a paper music sheet, a pencil and an eraser. The big advantage is that the further I advance in my creation, the further I can modify the structure of my work, adding or erasing measures, staves, pages, instruments, etc. I have total freedom and I feel grateful to Pizzicato for that.

Now I work without keyboard, because I compose by playing piano. Then, I transcribe and listen to the result on the computer with Pizzicato. Using this technique I recently wrote the cantate “To Jean-Sébastien” (18 minutes), a work which was interpreted in Zürich under the aegis of UNICEF by the Zürich Great Orchestra. »

Do you want to make your own opinion ? Because all our customers have their own specific course, research, wants. I would not like to reduce Pizzicato music composition and notation software as some elitist tool reserved for academics, professionals and early musicians.

I read so many mails which come from so many different personalities and situations. Their relationships with music are for many of them as their relationships with clothes, food, air, heart: in one word, essential and unique.

To test Pizzicato, the fastest way is to download the free demonstration version at On our website, you will also find the complete user guides for our 13 products, more than hundred newsletters around music composition (theory/computing), dozens of tutorials, all for free.


Francoise Delsaux

Arpege Music

Online Marketing

Pizzicato music composition and notation software – What kind of relationships with musicians ?

Pizzicato sheet music software was created to contribute to the enrichment of the musical art

Music software are created for musicians. They are programs which help to treat computer data so that their users can execute tasks in a more efficient way – here in the musical fieldwork. Efficient, quick, unique, smart. And for what concerns sheet music, it is about bringing page layout to perfection, composition optimization, and convenient sharing.

For example Mr. Dominique Vandenneucker, who created Pizzicato music composition and notation software more than 20 years ago, explains that its first goal was, is and will be to share with musicians the benefits of computer science in matter of music scores.

You can discover his storytelling related to his conception of Pizzicato here:

And the point of view of Pizzicato users there:

Users describe Pizzicato as an ‘expert system’. And if you want to measure how much that opinion is justified, test the free demo at

As I work with Dominique for 10 years, I precise that sharing ‘with musicians the benefits of computer science’ does not exclude at all the fact that Pizzicato can be more than (another) simple tool. All musicians would not want to and do not need to, but Pizzicato wants to facilitate the acquisition of music knowledge by beginning musicians as well as to guide more advanced ones towards the top of the musical composition art.

For example, between now 13 products, there is ‘Pizzicato Choir’. Its users, who are generally amateur chorists and persons without a real academic background, asked to Dominique if it would be possible to go further is matter of musical harmony, as they never had the occasion to learn it. And Dominique developped ‘Harmony and Counterpoint’, which is a very technical software to understand and master the rules of classical music harmony. Musicians can discover it at

Pizzicato music software helps beginning musicians to enrich their social life

The fact that music programs are tools do not prevent social and health benefits. It is of course not their main goals at all and nobody would pretend that they could play the role of some ‘virtual friend’. Nevertheless i will never forget the testimonial written by a former nurse around her experience of ‘Pizzicato’. Here is what she says :

“Pizzicato is for me a source of wellbeing. At social level first, this software brought me an occupation in my life after I retired, a reason to get up from my chair and make my brain work, also an occasion to have more human contacts. Thanks to Pizzicato, I feel less isolated and more active.
At the musical level, Pizzicato helps me to learn better, to read and write music easily. I work 2 hours a day with Pizzicato on my computer. At the beginning, I was using Pizzicato Beginner 2. Then I upgraded to Pizzicato Professional 2. Now I use Pizzicato Professional 3 and the SharpEye scanning software.
The result? I encode music as a pro! I am transposing, reducing and helping our conductor to write his own arrangements on music sheets. I am also responsible of our musical library.
Finally, I mention the great quality of the Pizzicato technical support. Mr Dominique Vandenneucker, designer of Pizzicato, always responded quickly to my e-mails, with kindness and patience. I never felt ridiculous. That is why I recommend Pizzicato to everyone.”

Isn’t it surprising ? She could have considered that, because she had paid for a software, it was logically a simple tool to use but no she associated the programming work made by Dominique to her own happiness. How surprising. As a marketeer I am trained to listen to customers, here I found a friend whose testimonial still enchants me.

Now I hope that Pizzicato music composition and notation software will help you both to enrich your contribution to the expansion and the enrichment of the musical fieldwork and that it will bring you one more occasion to increase your wellbeing.

Francoise Delsaux
Arpege Music
Online marketing

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