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Haha, indeed, we are influenced by what we listen, we all are... Nevertheless, I would definitely encourage you to continue the journey, and exercise your composer skills on this work you started, by introducing some melodic phrases. My (limited) experience in composing clearly shows that the journey is hard, but really fascinating.

Wow... Thank you very much. I had this "theme/figure" in my head for so long and it felt familiar, but I didn't know where did it come from, so I thought it's mine :D. Now I know, so I think there is no need to reinvent the wheel (especially by Bach), so I better leave this theme to Him, cause he just does it better :) It's really interesting how we can subconsiously "compose" something already made

Hi @Josquins turban , I tend to agree with MK, it's a little too repetitive, even if the patterns you chose, and the harmonic progressions are nice. It somehow reminded me of Prelude No.6 by Bach - BWV 875 --> if you don't know the piece, check it out, it's interesting how much variety of rhythms and melodic materials he can use. This can definitely give you some hints. If I had to elaborate on your work, I would typically introduce some slower melodic material in bars 4, 12... before returning to your transition material (yes, I think that's my feeling, you have good transition material, but I don't feel there is a theme sticking out...) Thanks for sharing and do share the evolutions, I'm keen to see how you've decided to make it evolve! Julien

Hi @islav , compositions such as yours is one of the reasons why I am keen to be part of a platform like youngcomposers: your work is really novel and inspiring. I didn't like everything, otherwise the many changes of rhythm in the melody, as well as the many strange and unexpected dissonances make your piece very coherent. Things I didn't quite like (really personal taste): bars 7-9 were too mellow for me I felt like the end was too abrupt, and didn't really go well with the piece I felt like the trill was used a little too often (e.g.: bbs 58, 67, 69...) Things I particular liked: the transitions in bar 20, bar 39 or bar 53, really surprising and somehow relaxing the rhythm pattern you regularly use, e.g.: in bbs 43-45 Thanks for sharing and continue the good work! Julien

Suppose a cue must finish within 90 seconds, including its final decay. Would you calculate a tempo adjustment from the entire file, or reserve time for the tail and measure the musical section separately? When would you prefer to revise the ending or render the cue again instead of stretching the existing audio?

That remix destroyed the clarity of my audio, as I found upon further listening. Here's a much, much better version, one that does justice to the original:

I really worked myself to the bone on this particular song. I spent almost a whole day on it, barely sleeping, and I put almost everything I've learned into the resulting music. I don't think I've sent more energy into any other piece. It turned out pretty decent for all the effort. I decided to call it Ancient Tapestry because it has what sounds to me like a Neo-Rennaisance quality. It's the kind of music I imagine the composers from that era would have written if they were still on this earth today.

"A track from my third vinyl record, which should be arriving any day now. The concept of the piece (the first part and the main theme) is simple... a melodic framing based on the Locrian minor scale." The translation was done via Google, and I hope it conveys the meaning I intended.

This and the following movements all toke a good 2 2/1 years to write

@Henry Ng Tsz Kiu, your composing story is lovely - I feel your deep care for your compositions, I can say that taking such a long time to compose certainly paid off :) Well, as of yet, I've never taken time to compose over one week and a half per work. The reason is that if I take a lot of time, I can't complete them, or rather, I move on to another project. Taking a lot of time for composing brings about failure. It turns out recently that my composing style is like "on the spot of imagination", I mean composing if I have a clear vision. This style enables me to create pieces without losing my passion and complete them. Oh, if you consider mixing as compositional time, it would be more than that time because I usually revise mixing after I make a track. Good and curious topic, Grant, thank you. Best, Lithl.

This is so good. I'm sure that you have a wonderful musical nature - the reason I think so is clear: this piece has so many musical factors and combines them with a progressive rock style avant-garde element very well. Probably the reason you didn't get feedback is that this piece covers a controversial topic, I guess. Also, a nice picture. I prefer the second one from the top: for the others, I know what you are trying to do, but the surrounding elements do not highlight the rabbit in the center. If you upload the second image to YouTube, it would likely draw people in. By the way, I want to ask you, how did you make the drums? Is that a VST, or did you play them yourself? Well, overall, this sounds amazing. Again, I admire your musical creativity. Some parts of this piece have a beautiful tune yet with chaotic noises. At any rate, we can enjoy plenty of wonderful melodies and developments. Keep up the great work!! Best, Lithl.

Hi, thanks for listening and commenting. Well, I’ve actually finished the project now. For one thing, I currently prefer to compose short pieces that express exactly what I want and nothing more; I’m not interested in writing extended works or anything like that. It’s just a personal preference right now. The Cantai app has evolved a lot during this time. They introduced what you mentioned: choral masses. And also other languages (Latin, English, and Spanish for Dorico). Although I had to uninstall the update and reinstall the previous version because the new version wouldn’t let me mix English and Latin. Once I finished this project, I installed the latest versions. In the end, there were about seven pieces: prelude, introit, Kyrie/Tuba Mirum, Lacrimosa, Sacrifice, Sanctus, and Libera Me. The texts are taken from classical Latin and all those Romantic poets, Joni Mitchell, and a poem by a dear friend.

Thank you Lithl! They are all good :)

Hi @PeterthePapercomPoser , What a strange sort of work, mixing modes like that. The result is however astonishing, really well thought and nice to the ear! The principle reminds me of Etudes (like Chopin's or Liszt's), complex pieces intended to "improve your technique", but which are also real pieces in themselves. So to your question: yes, I feel you've gone beyond the simple exercise, clearly. Must be complicated to learn though (due to the dis-harmonic aspect) Thanks for sharing, Julien

Hi Wieland, This mix of fugal and dissonances is quite unusual (to my ears), but really enjoyable. As already mentioned by others, the contrapuntal material is really interesting, well done! The end in particular (starting from bar 91), I really found profound and full of emotion. And after 3 listenings, I found the orchestrated version: WOW !!! The only criticism there is that I find it a little "too diverse" in instrumentation (if that makes sense). But really: well done, and I liked the Parisian feeling (I really felt I was in Montmartre), which is in line with Paul Verlaine's theme! Did you get any prize for it in the end ;-) ? Cheers, Julien

Hey Tunndy, Some feedback: I like the beginning: the rhythm, the darkness, really cool! Bars [7-10], really not my favourite section. I like the change of tone bar 28. I agree with Tristan that having forte everywhere would deserve a bit of nuance... In general, in enjoyed it, thanks for sharing! Julien

Hello, Here at aislop.fm we take this emerging artform seriously, so have designed a blind auditorium test feedback tool such that AI creators can get anonymous praise or criticism of their work. We are looking for submissions in all genres, so please consider submitting your best creations. https://app.aislop.fm/submit

"The fourth track on my first vinyl album, 'to be continued...', is jazz-rock. The guitar is live here too."

No, that idea hasn't crossed my mind :). Besides, I don't know the technical capabilities of the accordion very well.

Hello everyone! I'd like to share one of my original compositions, Wings of Silence. This piece reflects my interest in emotional storytelling through music, particularly the relationship between melody, atmosphere, and the expressive possibilities of instrumental writing. My intention was to create a musical journey that communicates a sense of introspection, emotional depth, and quiet transcendence. I'd be very interested to hear your thoughts, especially regarding: Melodic development – Does the musical material feel expressive and coherent? Harmony and atmosphere – How effectively do they support the emotional character? Orchestration and texture – Do the instrumental layers complement one another? Structure and musical flow – Does the composition maintain your interest throughout? I welcome constructive criticism, including suggestions for improvement. I'm always interested in learning from other composers and exchanging ideas about composition and orchestration. Listen here: [Insert link] Wings Of Silence (audio) Thank you for listening, and I look forward to hearing your feedback! Lampros Marantos

I get what you mean :), I made this version of the "score" for myself so I already know how to interpret it but if I wanted someone else to do it I would tell them to interpret freely! I think same goes for the poem, it doesn't mean anything clear and different people will interpret (or recite if we want to compare to playing) it in different ways.

Oh, all right. I also see graphic scores as something like that, but as a composer, you have to be prepared for the fact that the interpretation of these scores can vary greatly from one performer to another. The thing is, some people believe that a graphic score is a kind of PRECISE set of symbols indicating exactly what should be performed. Well, that’s not my idea of musical indeterminacy. The beauty lies in allowing interpretive freedom and giving weight to the performer(s).

Thank you Luis! I sort of felt like adding the score as some sort of behind-the-scenes kind of thing, it was done before the recording and I practised by following the "score" and improvising around it. I felt like adding it since it's part of the process and if someone has critiques they can maybe point to those in the score... Then again, it's a new thing I'm trying! Thanks! :)

Now, it's a time to help someone who wants to discover music - since I was helped by YC members a lot :) I have some examples that would be up your alley. Ludovico Einaudi: Moments of Peace Nils Frahm: Felt Ólafur Arnalds: Trance Frendz Hope this post helps you, have a wonderful musical journey and welcome to YC! Best, Lithl.

Hi I think it's a very interesting piece with an intimate feel to it, which I really like. When it comes to graphic scores like this, I don't have much to say because everyone interprets and works with them however they want. For me, that's an added element of interest.