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Thanks for the feedback! For some reason I can see it clearly on my phone screen, and using my Grabdpa’s laptop I could see it with YouTube’s highest resolution (1080p), but apparently you can’t see it. If I cut down on the stagger breathe note, maybe that can save some space and expand the rest. For the “Gregorian Chant” comment, I was intending it to be free from meter, not time. The cadencing of the beginning section phrases doesn’t end neatly on 4-8 beat sections, and if you try to feel it like that, the music would feel wonky like swaying on a ship unexpectedly. Is there a way you prefer that it would be phrased?

An invention fugue is a musical invention of mine created while I was undergoing a fugue; hence the name. (It might have better been called a fugue invention, but oh well.) At any rate, I've gone back to computer programming to study and create music. My latest creation is, in its core idea, a most unique and interesting one if I do say so myself. The main idea behind it is that melody and harmony are identical to each other except they span different axes. No, I don't mean that a melody is an arpeggiated harmony. If it were, melodies generally wouldn't produce such dissonant and incoherent harmonic progressions when the notes comprising melodies are superimposed. No, the way to turn a harmony into melody or a melody into a harmony is much more complicated and esoteric than that. There is a certain principle whereby one can translate one into the other--and even superimpose the two translations over each other to create a coherent harmonic progression rather than a mere static harmony or a monophonic pitch progression. I have--and I think I am the only one who has done it--discovered the principle that makes doing this possible. Using this principle, I have designed a computer program in which I input harmonies, turning them into melodies and melodies, turning them into harmonies, and in which these two translations are played simultaneously to create counterpoint. The amount of effort involved in using it is very little. All I have to do is provide a small amount of detail, and the program fills out the rest. The piece below is the first remotely serious one I used the program to write. It's very short, and, yes, the instrument that renders it is a harsh-sounding one due to it being the best default instrument. But I think it has some merit to it at least as an illustration of my idea. It should be noted that the piece involves self-imitation, which the principles behind my program, and the program itself, makes pretty easy to implement. There is a motif used once by one voice, slowly, and, at the same time, five times at different pitch heights by another voice. It also has exactly four voices, two of which required a small amount of design on my part (much less than would ordinarily be the case when writing for a pair of voices), the other two of which were generated completely automatically.

Gotta say, because my first listen is with 4 movements already available, I thoroughly enjoy listening to all of em! They all feel very connected, of course with the cyclical motif and all, and with the general simple and singing violin style, which in my opinion, you did achieve. You managed to retain and save the lightness of it until the end where it gets a bit heavier, and concluded the whole piece. Overall, goated violin sonata frfr 🗣️💯💯🔥🔥

Thank you Mossy for the illuminating and constructive comment. However, Sennheiser HD 650 headphone may be a better choice than your laptop tiny speakers to judge a mix and the sounding of a recording. Indeed, at 29 seconds the english horn, clarinet and trumpet, which are real musicians playing real instruments in Studio One AIR Studios, are doubling the piano for few bars before being replaced by an Armenian Duduk and a reed ensemble, again real musicians playing real instruments but recorded separately in a recording booth. The choice is mine and a agree with myself but there are indeed no obligation for you to like it from laptop speakers that are far from being HIFI. However, the lesson learned here is that I should never record at noon in order to ensure it doesn’t « sound midi-like ». Also, I will ensure during the next recording that musicians uses instruments equiped with an ADSR such that they can adjust the attack time correctly and mostly never record at noon or even midnight. I guess recording at 9 in the morning would sound better. Also, I should stop writing my scores in C-Flat Minor as it cost me a fortune in rehearsal and the musicians are always swearing while reading my music. Try yourself writing in C-Flat Minor and I am sure you will start swearing in 13 languages ;o) Cheers, P.S. midi is noon in French while MIDI is Musical Instrument Digital Interface which obviously you are also using with Jotter.. In DAW We Trust

I listened through laptop speakers, so this might have influenced my experience considerably. The use of percussion here is very immersive, but I think whatever instrument you doubled on the piano at around 0:29 kind of broke the immersion a bit as it sounded very midi-like. Perhaps increasing the attack time or the sustain level of the instrument would help?

Haven't really written anything in quite some time, but I felt like writing this after imagining the melody. The choice of hymn was arbitrary (just something I already knew), but it was really easy to set to music.

I have some news! i am creating my own RPG game! (inspired by Undertale and Deltarune) I will be making tracks for the game!

will make you what the title is.

Thanks Chris!

Could transpose to C Major to avoid one-finger playings between white and black keys, but Noteflight does a bad job of this and I would have to do it note by note; Noteflight has its own ideas as to "enharmonic equivalents!" Anyway, A Major is my favorite key.

As to the above comment and the extremely difficult or unplayable chords, if I had to undergo the horrible ordeal of having to edit a piece like this for public performance or publication, I could leave out a note or two, add an arpeggio mark, or some such thing, and such an edit would make little difference in the sound of the music! Noteflight renditions do have a certain sameness of course, but what a tool to have!

Thank you!

Hey everyone, I wrote a short work based on a particular rocking-up-and-down figuration that I liked while improvising. I guess it's a little bit like an étude w/ respect to technique but I also thought the almost perpetuum-mobile right hand gave it a somewhat toccata-esque feel as well. Hope you find it interesting; and if you have any suggestions/critiques/general comments I'd enjoy reading them!

A very sprightly waltz that I quite like (and I also think A major/F# minor are pleasant keys to work with, esp. on the piano). I enjoyed the syncopation and a lot of the forward momentum seems to come from the whirring quaver accompaniment or melody. The majority of the waltz seems to hover around the same energy level which slightly put me off (perhaps that's also a consequence of the Noteflight soundfont lol but I'll disregard that), esp. given the work's length and repeats. I would perhaps appreciate more contrast between the different sections i.e. varying dynamics, maybe a slower middle section, or the piece moves into a more distant key; but that's entirely up to the composer and if you have a vision, then it's all yours. I think you broadly did a great job composing for piano as a non-pianist! I don't have many gripes with the technicality or difficulty of the work, perhaps apart from the fact that the constant quaver motion might get a little tiring without a more settled middle section, although that's probably more so for the stamina of the pianist. Some of the five-note chords are certainly comfortable (e.g. 2nd bar, beat 3, right hand; I would take A and B with my thumb, D and E with my index, and the top A with my pinky) but others are a little less so (for the left hand in that same position in the bar, I could either play each note with one finger, which is a little uncomfortable, or try using my pinky and third finger to play two notes each, which are usually the pianist's weaker fingers). Another consideration is when those five-note chords are transposed, the one-finger-plays-two-notes fingering occasionally doesn't work when the two notes are black and white (e.g. bar 65). But, once again, these are only suggestions and a more accomplished pianist could make this work just fine. Thank you for sharing!

the song was a bit messy so I tweaked it a bit.

Nice. Congrats on the album I have subscribed

Full version of the sneak peek, inspired by deltarune, undertale and undertale yellow.

It's been a while because I've been working on other stuff but here's a sneak peek of a new song!

I just listened to the whole thing! I really like the variation. It's hard to believe it came from a Toby Fox song. It reminds me of a windy forest or an intro to an old animated 1-off Walt Disney movie. Can't wait for the next variation!

VARIATION 1. I try to maintain the lightness of the theme's orchestration while adding varieties to the theme. the bit at the end is the transition to the 2nd variation, more dance-like i guess.

Thanks so much for the warm words! There are actually 8 tracks on my album. If you click the little playlist icon near the top right corner, it reveals them all.

Thank you Barko, This is the last scene of the movie by the way. The wacky adventures of Inspector Looso - Traffic Agent Looso soundcloud.com/user-461764443/sets/the-wacky-adventures-of Inspector Looso just had a so called lateral promotion. This is the politically correct way used by the Human Resources to bump someone out of his chair. In fact he was demoted down the food chain since he goofed so many times and missed finding the criminals he was supposedly chasing. Luc Looso is now Traffic Agent in Paris at the corner of Rue des Deux Boules and Rue Bertin Poirée where he should be of no harm for anybody but guess what. He gently caressed-up again. The End “This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental. The corner of Rue des Deux Boules and Rue Bertin Poirée do exist and you can see it on Google Street. Perfect spot for Looso. Music by: Syrel Musical Notes: You may recognize the inspiration from An American in Paris by George Gershwin, the Candide overture by Leonard Bernstein, a bit of The Pink Panther soundtrack by Henry Mancini as well as many other great composers when they writes funny music such as Tchaikovsky in the Nuts Crackers and Sergey Prokofiev in Peter and the Wolf.

The emotional warmth from this track is spot on, my friend. It reminds Appollo 13 in so many ways (I forget who wrote the score for that). I love opening horn line that is double by lush strings. Then, we hear pitch percussion. Just so many colors and tones...I could write entire essay on this, but I do not enough space for that. 😄 Kudos!