Ariosa — compose music with an AI partner

No music theory needed — just describe what it should feel like.

01 Set a mood — a slow, sad waltz

Write me a slow waltz that feels a little sad.

02 Deepen it — even sadder

Make it sadder — like something just slipped away.

Slower, lower, with a half-step pulling at the line.

03 Turn it — hectic and frustrated

Now make it hectic and frustrated, like everything is boiling over.

Same waltz, twice the tempo, eighth-note runs that won't sit still.

A composer building from nothing — melody, bass, harmony, arrangement.

01 Start — a bare melody

Give me a four-bar phrase in D minor that breathes.

02 Add — a walking bass underneath

Add a quiet bass line that just touches the chord roots.

A new bass voice added below the melody.

03 Tune — harmony picks up the colour

Label the chords. And lift bar three to F major instead.

Chord labels added; bar 3 lifted to F major.

04 Add strings

Add strings underneath the melody.

A string pad sits between the piano melody and the bass.

05 Animate — alternating bass

Turn the bass into an alternating accompaniment — root and fifth, eighth notes.

Bass alternates root and fifth in eighths, under the same melody and string pad.

A songwriter sketching at a guitar — start with a simple tune and basic chords, then make the harmony more interesting, then carve out a bridge.

01 Starting point — a hummed melody, plain pop chords

A 12-bar verse over the four-chord pop progression (G, C, Em, D) at 132 BPM — a five-note melody with the rhythm changing from bar to bar (held phrase endings, a syncopated dotted-quarter middle, a quick burst before the final cadence on a held tonic).

02 Twist the scale — pivot to parallel minor for the middle

Same melody, but make it more intriguing — flip the middle phrase into a totally different scale, something the ear doesn't expect.

The middle phrase modulates to G minor — same melody letters, but the key signature recolors them (B and E now flat). A D7 at the end leans hard on the dominant before snapping back to G major for the final phrase, which lands cleanly on a held tonic.

03 Carve out a bridge — different key, no lyrics

Now put a bridge in the middle — a different key from the verse, no lyrics, just chords and a hummed line.

Stage 02's 12 bars plus a four-bar bridge inserted after bar 8 — Bb, Eb, F (a chromatic-mediant key change), no lyrics across the bridge — before snapping back to G major for the final cadence. 16 bars total.

A drummer shaping a groove — start plain, work it into a feel, finish with a fill.

01 Starting point — a plain rock beat

02 Reshape — half-time shuffle feel

Turn this into a half-time shuffle feel.

03 Detail — ghost notes and an open hat

Ghost the snare on the offbeats, and open the hi-hat on beat 3.

04 Cap it — a fill leading out

Now take that groove for one bar, then fill out of it with toms into a kick.

Bar 1 keeps the groove from stage 03; bar 2 descends through the toms into a run of kicks.

A pianist with a finished piece in 4/4 who wants to feel it in 6/8.

01 Starting point — the piece in 4/4

02 Re-meter — feel it in 6/8

Convert this to 6/8 — keep the melody, just change the meter.

03 Left hand — open the voicing

Adjust the left-hand voicing — spread it across the bar instead of pumping eighths.

LH rewritten as sustained chord voicings — kept on the existing harmony.

04 Right hand — give it the lilt

Re-quantize the right hand so it lilts properly — dotted feel, not flat eighths.

A teacher with a piece written for a pro and a class that needs to play it next month.

01 Starting point — an upper-intermediate violin solo

Sixteenth-note runs and a triplet, spanning two octaves from D to d″.

02 Simplify rhythms — flatten to eighths

Simplify the rhythms — straight eighths only, but keep the melody.

Same arpeggio climb and scale descent, played in straight eighths.

03 Shrink the range — fold into one octave

Keep the melody, but fold both motifs into the same octave — D to d.

Arpeggio and scale collapsed into a single octave (d to d′) — first position only.

04 Mark it up — bowings and slurs

Add bowings and slurs that an intermediate student can read at sight.

Compose music with an AI partner.
Write beautiful scores.

How a piece grows

Compose music with an AI partner.Write beautiful scores.

How a piece grows

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Compose music with an AI partner.
Write beautiful scores.