01
Talk it out
Speak or paste the show concept. Intake turns it into structured JSON — the authoritative plan for the sketch.
Say the showout loud.Hand over a score.
ScorePilot.band turns a spoken concept into an editable six-line sketch — pacing, harmony, grooves and impact points — then exports clean MusicXML your arranger finishes in Sibelius, MuseScore, Dorico or Finale.
- 6
- score lines
- 1–250
- bars per file
- 4
- MusicXML presets
Live pacing engine
Move a control. Watch the band respond.
This is the same model that writes the score. Pull Energy down and lines drop out to a thin texture. Push Activity and the pitched lines subdivide. Raise Drive and the battery fills in with accents.
demo-show.sketch · bars 9–16
HWW
LWW
HBR
LBR
KBD
BAT
910111213141516
Energy58
6 of 6 lines · mf
how much of the band is playing, and how loud
Activity48
quarters
rhythmic subdivision of the pitched lines
Drive55
broken eighths · 64 hits
percussion density and accent weight
146 note events · 6/6 lines · 64 percussion hits
Nondestructive: pacing edits layer over the intake JSON, never replace it.
From a conversation to a score-ready sketch
Eight stages, in the order a producer actually thinks: idea, examples, shape, chords, patterns, parts, review, download.
02
Shape the pacing
Energy, activity, texture and drive across every bar. Move a curve, the score moves with it.
03
Apply patterns
28 producer-language templates for grooves, pads, hits and lines. Preview, apply to a range, undo anytime.
04
Hand off MusicXML
Six-line score tuned for Sibelius, MuseScore, Dorico or Finale. Your arranger opens it and starts writing.
No music theory required
Speak like a ScorePilot Producer
You do not have to name a single note. You do have to say what the music is for, where it happens, and who does what. Seven prompts are all it takes — say them out loud and the Intake GPT can return a complete plan the composing engine builds a real six-line sketch from.
The seven prompts
- 1Purpose
What must this moment make the audience feel or understand?
The job of the music. Say it as a feeling or an outcome, not a style word.
“This is the opener — it has to feel like something enormous is about to start.”
Controls: Sets the overall arc the plan is built around.
- 2Map
Which measure ranges or sections perform each job?
Bar numbers. Even rough ones. This is the single biggest upgrade to any brief.
“Thirty-two bars. Intro 1–4, build 5–12, arrival 13–16, reset 17, drive 18–32.”
Controls: Total measures, sections, and where every other instruction lands.
- 3Pulse
What tempo, meter, groove or pacing is needed?
How fast, how it counts, and what the rhythm feels like underneath.
“Three-four at a hundred, then it snaps to a hundred and sixty at 18.”
Controls: Tempo and meter changes, subdivision and groove vocabulary.
- 4Harmony
What tonal centers, chord character or direction do you want?
Where it sits, and whether it feels settled or pulling somewhere.
“B-flat major throughout, but the build leans modal and unresolved until the arrival.”
Controls: Keys, modes, chord symbols and harmonic tension.
- 5Voices
Which of the six score lines lead, support, answer, groove, rest or arrive?
Who is doing what. Naming who sits out matters as much as who plays.
“High woodwinds carry it alone; low brass grounds it; battery stays out until 5.”
Controls: Per-measure orchestration and roles across the six lines.
- 6Shape
How should Energy, Activity, Texture, Drive, Loudness and Tension change?
The curves. Describe change over bars, not a single fixed level.
“Activity rises steadily from 5 to 12, but loudness stays restrained until 15.”
Controls: The pacing values the composing engine reads bar by bar.
- 7Moments
Where are the arrival, transition, impact, release, breath or ending?
The bars people will remember. Point at them by number.
“Measures 15–16 are the arrival; 17 is empty for applause.”
Controls: Arrivals, impact bars and the space around them.
Vague vs. useful
Vague
Make it cinematic and exciting.
There is no bar count, no map, no roles and no arrival, so the Intake GPT has to invent all of it. You get a generic plan that you then have to argue with measure by measure.
Better
This is a thirty-two measure opener for a modern marching show. It has to feel like something ancient waking up, then breaking into motion. Start in three-four, B-flat major, at a hundred beats per minute. Measures 1 through 4 are an ethereal high woodwind solo — a fragile rising idea, alone, nothing else sounding, very quiet. From measure 5 through 12 the battery comes in underneath with a low tribal groove: floor toms and bass drums, sparse and ritual, while the flute idea keeps going above it. Activity rises slowly across those bars but loudness stays restrained. Measures 13 through 16 are the brass build. Low brass grounds it, high brass lifts over the top, and 15 and 16 are the arrival — the biggest, broadest impact in the piece. Measure 17 is a full reset: leave space for applause, almost everyone out. At measure 18 the tempo changes to a hundred and sixty. Low brass starts a relentless two-beat ostinato that runs through measure 24, with the battery locking a straight groove on top of it. Measures 25 through 32 are the payoff: a high brass melody with a woodwind counterline answering it, over the low brass ostinato and a full percussion groove. Energy and drive both climb to the end. Stay tonal. No harsh dissonance, practical marching ranges, and keep breath room for the winds since they are moving.
Every sentence lands on a bar range and a role, so the JSON comes back with real sections, tempo and key changes, per-line orchestration and pacing curves. The sketch already sounds like the thing you heard in your head.
Seven habits that fix a brief
- Use measure ranges"Measures 1–4 are alone in the flutes."
- Describe function"High woodwinds carry a fragile rising idea."
- Describe motion"Low brass begins a two-beat ostinato under it."
- Describe change"Activity rises, but loudness stays restrained."
- Name the moments"15–16 is the arrival; 17 leaves space for applause."
- State constraints"Stay tonal, no harsh dissonance, practical marching ranges."
- Describe sound, not notation"Broad brass impacts" beats "make it cool."
Four complete briefs you can steal
Spoken-natural, not JSON. Copy one, change the details, and hand it to the Intake GPT.
What the pacing words mean
- Energy — Perceived intensity
- How intense a bar feels overall — register, weight and attack, not just volume.
- Activity — Note-event rate
- How many note onsets happen per bar. Drives subdivision in the pitched lines.
- Texture — Layers sounding at once
- How many of the six lines play together, and how thick the page looks.
- Drive — Forward motion
- How hard a bar pushes into the next. Raises battery density and accents.
- Loudness — Printed dynamic
- The pp–ff marking and hairpins players actually read in the part.
- Harmonic tension — Stability vs. pull
- Extensions, alterations and unresolved motion in the harmony.
“Busy but quiet”
High activity, low loudness — rippling sixteenths at pp under a held melody.
“Loud but still”
High loudness, low activity — a fortissimo whole-note wall that does not move.
“Thin but intense”
Low texture, high energy — two screaming lines and nothing else.
“Full but relaxed”
High texture, low drive — everyone plays, nobody pushes.
The six score lines, and their verbs
1. High Woodwinds
floatshimmerstate melodydecorateanswer2. Low Woodwinds
warmconnectcounterlinereinforceshadow3. High Brass
announceliftfanfareanswercrown4. Low Brass
groundpulseostinatoimpactdrive5. Keyboard + Melodic Percussion
sparklereinforce harmonyarpeggiatecolorconnect6. Battery Percussion + Drums
establish timegroovebuildfillimpactrelease
These are choir-level sketch roles — one staff each. Individual instruments and divisi are split later in your notation software.
Build your brief
Optional fields, in the order a producer thinks. Your brief writes itself on the right.
Your producer brief
Fill in any of the fields — every one is optional — and your brief builds itself here.
This builder is guidance only. It writes no JSON, changes no measures and sends nothing anywhere. Next step: copy the brief, paste it into the ScorePilot Intake GPT, and bring the JSON it returns back to Stage 1.
How this actually reaches the score
- · A spoken or typed brief never modifies the score by itself.
- · The Intake GPT is what turns your brief into structured ScorePilot JSON.
- · Only valid JSON applied in Stage 1 changes the editable musical plan.
- · Patterns are explicit, undoable revisions applied after the JSON.
- · Audition is a lightweight synth guide, not a render.
- · MusicXML is the handoff to Sibelius, MuseScore, Dorico or Finale.
Built for the handoff
Show designers & producers
You hear the show. Sketch its shape, pacing and impact points without notating a single bar by hand.
Arrangers
Stop reverse-engineering a voice memo. Open a bar-accurate sketch with intent, dynamics and groove already mapped.
Directors & staff
Review the arc before rehearsal time is spent. Approve the plan, then let the arranging team finish the job.
Get into the build
Access is currently limited to approved Synced Up Designs addresses and invited collaborators. If yours is not on the list yet, request access and we'll email you the moment ScorePilot.band opens up — your request lands with our team the same minute.
- · Approved address → straight into your synced workspace
- · Anyone else → release list + a confirmation email from us
- · No account needed to explore the local demo workspace