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Two movements of a separated work, feel free to give any critique! Pavane.mp3 Prelude.mp3 Prelude(L).pdf Pavane.pdf

Thanks, I'll try to utilize dynamic and add a better intro/outro with chord progressions on the next one. I do still have difficulty with left hand as it was not as agile as my right hand, and I kept play it safe by playing on a single chord with cadences. Changing tempo and key might still out of my ability to work with.

I have some eerie music in preparation for the holiday, Halloween. Im schweigenden Tal der Schatten Wo fern die Wasser gehn, Sah ich die Wolken sinken Und goldne Sterne stehn. Der Abend legte leise Sein Blau auf Feld und Baum, Da hob sich aus den Wiesen Ein längst vergessner Traum. Es rauschten dunkle Wälder Im Atem stiller Zeit, Als trügen ihre Kronen Den Klang der Ewigkeit. Hinauf zog meine Sehnsucht Durch Silber, Duft und Wind, Dorthin, wo alle Wege Nur noch ein Leuchten sind. Die Nacht begann zu singen Von Fernen ohne Zahl, Von Ländern voller Frieden Jenseits von Berg und Tal. Und jede lichte Wolke Schien mich emporzutragen, Als könnte selbst das Schweigen Die tiefsten Worte sagen. So ließ ich mich verlieren Im Sternenstrom der Höh', Und fühlte nur noch Liebe, Die durch die Himmel weht. In the silent valley of shadows Where distant waters flow, I saw the clouds descending And golden stars aglow. The evening gently settled Its blue on field and tree, Then from the quiet meadows An old forgotten dream rose free. Dark forests softly rustled Within the breath of timeless days, As though their crowns were bearing The sound of endlessness. Upward drew my longing Through silver, scent, and wind, Toward that place where all roads Become nothing but light. The night began its singing Of distances beyond all measure, Of lands filled full of peace Beyond the hill and vale. And every shining cloud Seemed to lift me ever higher, As though even silence itself Could speak the deepest words. So I surrendered all I was Within the star-stream of the heights, And felt only love remaining, Flowing through the heavens. Aufwarts im Abendlicht.mp3

No worries, I appreciate the update!

Hi again, I wanted to provide an update. I have begun my annotations, but due to my schedule, it will be a few more days before I can confidently relay. I should have them by the end of the week if all goes well.

Thanks @Grant Weep for introducing me to this Bartok piece! I already love the Music for Strings, Percussion and Celesta and this ensemble is right up the alley of that one. I am hard pressed to find the similarity between my dotted quarter and eighth note figure and this piece at 0:42 - I had to listen really hard to even detect what it was that you meant. But I guess there is a miniscule similarity! And I'm always glad to be compared to Bartok - one of my favorite composers for sure. Now I'm going to have to check out the rest of the movements of this Sonata! Thanks for your review and recommendation!

The Poltergeists Polyphonic: No, I do not create live versions of my AI creations. I don't have access to a band, nor can I play conventional musical instruments such as pianos and whatnot. My hope is that the AI remixes are as good as anything I could reasonably expect to get out of a live band.

Hello @Grant Weep , thank you very much for this generous feedback! Oh, no, unfortunately this is no live performance and I am not playing either. The applause – I know that is somewhat embarrassing – is included for technical reasons only: I needed some „sound“ or „noise“ at the end of the video for the „outro“, i.e. when presenting the final slides and Youtube-cards. One the other hand, I had sometimes a problem that the video was stopped before the final chord if there were no such „trailing noise“. In some other of my videos I have chosen other „outro sounds“ which are perhaps more appropriate, such as the song of the nightingale or steps walking through autumn leaves or a street scene with an accordion etc. Haha, that’s interesting and funny! Since I’m not familiar with Pokémon games (or video games at all), this reminiscence must be completely unintentional. To be honest, I think I stuck very closely to my inspiration—namely, the fugato from Prelude BWV 852a—but if it’s not that obvious, that’s totally fine with me. And yes, I also particularly like the passage around 01:38, since that’s the section that really really brings some emotions of joy and summer – while the rest of the piece is much more melancholic. Thank you very much. I find this last paragraph particularly interesting. We’ve already had an interesting discussion here in the forum on the topic of “personal style”, and this kind of “personal voice” can only be perceived and evaluated by the listeners, not by the composer himself. And if you, on the one hand, find the harmonies somewhat “weird” or “unusual,” and on the other hand recognize them as rooted in traditional harmonic theory, I consider that a great compliment. I initially based my first steps in composition on the model of Bach’s contrapuntal works, but now, after some time, I greatly appreciate that my works are not (longer) considered as exercises in imitating Bach’s fugues, but rather reveal influences from other, more contemporary composers, without coming across as completely “atonal” or “destructive”. My compositional approach—that is, my method of working—remains contrapuntal and therefore very “head-heavy“, which may explain the “muted” emotional level (or, perhaps, it is a matter of my (German) nationality?).

Hello, This is such a delightfully bizarre piece. You got such a great touch...to make dissonant things sound good. Bravo. When I first listened to the piece, I didn't really get it. But the musical idea was memorable and stuck around in my head. Returning back after a few weeks, and I don't know...I think I get it a bit more now. My fav part is at 0:11. Those doted notes. I actually typed this comment, had to do some work, and listened to some Bartok while during the work and then suddenly heard that brief idea at 0:11 (your piece) in one of his pieces below at 0:42. I don't think it's "that similar", but your music makes an impression...which is a lot more than I say about some other music.

You're welcome! I'm confident in your ability with Ai and it will be very entertaining, too! My record label creates with Ai then we reproduce it with an actual band. It's a fun process! It's interesting to see what's possible with Ai then create the human composition in studio. It's somehow meaningful in that way. Do you create live versions of your Ai creations?

Hello, I didn't read any of the preamble you provided for your music this time. I've listened to this piece on/off in the last few weeks. Like your other works, I find it very intricate. One gets the feeling like you are very deliberate about your notes. As usual, the engraving is absolutely beautiful. Is the applause at the end from a performance/is this you playing? 1:38 is very nice. I don't know why but the main theme sort of reminds me of something I might hear from a Pokémon game (ahhh I know, maybe this is not the feedback you want to hear for your elegant, pristine works!) Generally speaking I found the harmony to be a bit weird. Not in a bad way. The song comes off written in a way where it's obvious you know how to use conventional harmony. I guess perhaps you have found/looking for your voice? I can't tell just yet...probably need to listen to a bit more of your music to find out. I find that your music does tend to be a bit muted from an emotive point of view. I don't think this is intended to be a criticism...it just doesn't feel that emotional to me. I hope that makes sense. Perhaps it's a compliment? The music feels really deep sometimes, but the weird random harmonies throws me off a bit. My ear isn't really that used to all of it.

Hello, Looks like you are on the right track to composing music! You didn't really ask for any specific feedback, so I will just throw some initial thoughts that come to mind. The piece is sort of long enough (almost 2 mins) but doesn't really move too much from your chord progression. You mentioned something about "listenable". I mean, I only have 2 mins of material to work with. I hope that you aren't trying too hard to focus on playing it too safe. In my opinion, you really gotta take risks. I always remembered my second composition I ever did, I felt like it sounded weird and disliked it, but my brother really always encouraged me to go further with it, since he found it more "interesting" to listen to. Somethings to consider - adding intro/outro. Often times, adding some sort of development section really spices things up. It's no coincidence that most pop music these days might throw in a bridge right before the ending of the song. It's a tried and true formula. So yeah, I would really look at the structure of your piece, that's the main thing that really stands out perhaps as being next steps for you... One of the core compositional techniques is to be able change things. Change the rhythm? Change the chord structure? Change key even perhaps? Then you get into more abstract ideas...change the atmosphere/change the where the listener is listening/change the genre?? I hope you keep writing, cheers!

Hello, They sound real nice. Sort of feels improvisational, reminds me of something that I might hear in an indie movie or something. Felt a bit cheesy at times, but not in like a bad way, you know? Good cheese.

Hello! I am the Estonian composer August Hirv, and I was wondering if I might share a couple of my recent works with you. August Hirv - Slowrun Up To The Air August Hirv - Remembering The Way To Cheers! August Hirv

Thank you very much. I think although there are many parts, most of them are quite short in comparison to real baroque pieces, but I think it'll improve with time :)

Thank you so much for review I will look forward it

Maybe a little bit yes, I think most of what I write imitate or tries to imitate baroque style, even if I don't really intend it 😆. I didn't really knew how to write something longer/with less repetition on so short "theme", that was I think main problem here... If you could write, what could be done to achieve this, it would be very nice :)

Hey @Wieland Handke ! Thank you so much for your review! I always want to reply but I have been sick for almost two weeks (still so) and threw up twice 2 days ago, and also digging myself into Scarlatti so I am not that active in this forum recently. Whenever I write I never expect how long a piece would be, as I am not writing for any competitions/commissions. I always say that I am selfish and I always write for myself instead of any other people. I write to express myself and I will let the music grow and speak for themselves. The duration of "my" piece (if they are really mine) is not what I the mere labor barer can control. What I have to do is to make sure the music express itself out fully, resonably and coherently, with technique and care and honesty only. I didn't choose the instrumentation either; the 1st inspiration popped out during a night when I woke up from sleeping, in the sound of a String Sextet which is the opening of this piece. I have no choice but to follow my inspiration haha. I even (unwillingly and forcefully) write 6 part fugue thx to the Sextet medium, as if I write for any other medium or instrumentation I wouldn't have dreamt of myself tediously writing a 6 part fugue! This shows another aspect of how "selfish" I am as I only write for myself, I never care for the feeling of my listeners! :) I don't think of any imagery for the beginning but I think yours is an apt description of it. What I was thinking then was human represented by freaking violas immersed and resonated in Tao by Heaven (represented by Violins) and Earth (represented by Cellos), that's where my shameless subtitle "Heaven, Earth and Human" bases on. The fugue is in 26:33 of the Youtube video for the whole Sextet, or 11:53 in the 2nd movement audio. Thank you so much for listening to the Sextet and remembering the piece even it's a year ago! I really appreciate it! Henry

Greetings! This is the recorder consort version of the before mentioned madrigal, the reason why i instead am posting the recorder version and not the vocal version is because i have to use an AI to render my madrigals and vocal pieces, and sometimes it doesn't sound good, so that's why i choose to post the recorder consort version, enjoy!.LOB 133 O cruel fate!.mp3

This is a quite small and simple pavane i made some time ago listen to Pierre Phalesè pieces, i hope you guys enjoy it, i might compose a galliard to accompany but i'm not sure yet! by the way, the instruments are not bound by their physical limitations, in this case, this shawm consort can't reach some notes i wrote. The reason why is because it's the soundfont that fit best for this piece. LOB 126 Padovana Antiqua.mp3

Fellow period composer here. Although i'm specialized in renaissance and early baroque music this is quite lovely! It's incredible what you did, the piece is quite long aswell, i have tried doing similar pieces but i always give up, seeing this makes me quite happy. Bravo!

Hi, welcome to the Forum! Not only as a composer, but as a harpsichordist, I find that there is too much of the same for too long. Essentially, a lot of repetition and not enough imitation/ independence. However, before I go on to elaborate, was it your intention to imitate baroque style?

I composed this lovely piece today and remixed it with Suno. It turned out really, really good, in my opinion. I've finally hit on what works compositionally, and I've been trying to push the limits of what I can do with music, with this piece being one of my best. Thank you for you kind words! Yes, I do indeed compose the original source material. The music comes out far better that way--more emotional and more suited to one's own tastes--provided you know what you're doing composition-wise. You mention that the biggest challenge with AI music is how cliched its output can be, and I agree 100%. All AI can do is repeat patterns it has been exposed to, with an added element of randomness. It's essentially a glorified copying machine. This is why, as I mentioned, I like to feed it my own music. When one feeds it one's own music, it takes on a role more akin to a spell check or a hired sound remixing specialist, the latter being something to which most professional composers turn, remixing being a different animal than composition, one that most composers never master (in both senses of the word "master"), myself currently very much included. To answer your question, I'm not entirely sure what you mean by reversing the process to humanize the production. Could you explain?

Hi, I present to you my new piece - short (1 min) etude for harpsichord (a little break after my last quite long cantata :) ). As always, advices for future or this piece are welcomed. Etiuda.mp3 Etiuda.pdf