The title may not be that clear (I have trouble with the word limit), but... what is the best way to transit from using midi sequencers to compose classical music to composing through manuscript paper? I started composing using a pattern sequencer (e.g Propellerhead Reason) 2 years ago (see attached file) without any formal training in composition (but an immense interest). Originally used for composing electronic music, it allowed me to do things I wasn't capable of on the piano (barely Grade 8) and easily refine any interval or chord by dragging notes up and down and playing a passage again and again (spacebar). There wasn't a need for much planning at all since you could easily adjust the rhythm, pitch, and position of any note and hear the sequencer playing it back, allowing me to compose on impulse without even hearing anything in my mind's ear, unlike proper programs like Sibelius and such, where it is quite a hassle to do major changes if you were not quite sure about what you wanted (especially regarding rhythm and accidentals, which Reason does not care for). It was also easy to get experimental with harmonies and overcome any technical difficulties presented by runs, scales and appregios etc. With such great freedom at my hands, I developed quite a dependence on it. It was essentially constant improvisation. Starting off was fine; it helped me get a feel of basic harmony and the general knowledge of what made a piece tick. It was also pretty easy to superficially emulate some of my idols and use the chords they used, and dabble in simple counterpoint; at this level I could overcome theory by sheer force of will and patience. I could even develop my own style and put in some originality into my pieces through the almighty sequencer; it sort of catapulted me into composition faster than other methods (e.g slowly playing the piano and assembling something from scratch, etc.). While there were many slightly disappointing endings and transitions that contributed to a dull ache of the mind, they weren't serious enough for me to really pay attention (since the forms were small), and so I just proceeded on. However, while I was somewhat proud of some of the things I wrote (e.g below), I slowly became aware of the shortcomings of the above method. As I became more ambitious and started to go towards larger forms like sonatas and what not, I was severely impeded by the 'improvisation problem'; I had many musical ideas which I could easily commit to the program but it became impossible to link them together or to structure them in such a way that makes sense (I couldn't get back to where I started etc.) The freedom I embraced at the start ended up being a constant distraction and a waste of time, since I needed to think musically on a large scale to solve those problems. But my approach discouraged long-term musical solutions in the first place, and so I had no choice but to give up many things. Thus, I'm in sort of a blockade where I can't go any further. Moreover, I found that, to my humiliation, I could not play anything I wrote! It was quite embarrassing to say to others that you are a classical composer and yet be unable to do anything on an available piano to show it. Much of what I wrote was totally un-pianistic, some of it impossible for two hands, especially regarding legato within three or four parts etc. I did try writing some of my compositions on paper from the sequencer, but it quickly became untenable at some parts. This also meant that I was blind to the nuances of actual piano-playing in my compositions; unable to visualize any form of rubato, shaping or phrasing naturally. The program also does not allow quintuplets or any such complex rhythms, which is an added detriment. At the end of all this, I find that I had been led on a false trail all this while, and thus have to start all over from scratch and Sibelius, but the sequencer seems to always lead me in again and again. Does anyone have any advice on how to continue composition under these terms?