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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.

Hello, I am looking for more contemporary piano music with the following keywords: peaceful, pensive, sensitive, emotional yet simple. For example: August Hirv Jane Avril Akira Kosemura etc.

Hey again Vince! I like how this one sorta starts like an invention. It also has a certain dichotomy between major and minor that's really interesting. Like I didn't perceive the main melody in the beginning to be in F# minor, but the piece is clearly meant to be in that key since that's how it ends. Also, just from listening without the score, I wouldn't have known that the piece modulates to Db so very smooth transition there. I would perhaps make sure that the tie from A natural to Ab at the key change with a slur over it is clear that you mean that to be a different note, not just a continuation of the A natural (perhaps a courtesy accidental might be in order). But that's just an engraving nitpick. Thanks for sharing!

Hey @Thatguy v2.0 ! I like the unusual palindromic structure of this one! I feel like perhaps giving this one a heavy reverb and perhaps a delay effect as well would make it sound like some kind of a cave level in an RPG which I love. It has a clear sense of tonality despite the adventurousness, both starting and ending on an A minor 7th chord. And there seems to also be that strange dichotomy between the tonic and it's tritone (Eb) that we talked about. This is a very interesting piece from a lot of aspects: melodically, rhythmically, harmonically. Great job and thanks for sharing!

Hey @Thatguy v2.0 ! Stoked to hear another installment in your series of Preludes! I've been meaning to give them a review for a while now so here it goes! First off - I love the idea of these recurring flourishes that you insert into the piece! I think my favorite one is in bar 20 - that chord is just so weird - I think it's just an E5 b9 right? That's such an unusual sonority! I also like how the piece takes its time getting started - it feels like the real melody doesn't actually emerge until bar 16. It seems (at least to me) that all the other melodies are variations of this central and pivotal idea at bar 16 which is the prototype/main melody in the piece. But it emerges organically as if from out of a fog which I love! Great job on this prelude and I'm stoked to hear the next!

Sad to know there's an end! "If I'm going to give a deadline to our love, I hope it will be 10 thousand years..."

@Omicronrg9 Hey thanks for checking this out! Agreed, and I will say that this is such a pain in Sibelius. I can't tell you how many times I attempted this, but it needs to looks better. Speaking of attempting, I rewrote this so many times. It was to show major/minor on Db, but I was afraid of the key signature changing. I changed it to all flats, but I was confusing myself thinking in Dbm (I'm a noob). I then changed it to all sharps, and that was a little better, but back and forth from C# to C#m hurt my brain too (super noob). So in the end, I said screw it and just used Db/C#m 😁 Thanks for the kind words! It's a goal to have them all different, they're bound to appeal on all types of levels :) The end is 24 Thanks again for listening Daniel, looking forward to hearing more of your music!

Have you thought about transcribing for accordion? Mark

This is a very interesting idea for a project and something I think many choirs would be interested in performing! Was there a reason you particularly wanted to restrict yourself to "calm, short pieces?" I'm curious what other texts you are thinking of incorporating; these first two are certainly a good start! It's a shame that Cantai doesn't give the vocals a more monumental sound, but it's still helpful for a sense of how everything goes together. I particularly like the little harp arpeggios for their sense of wonder. I'm not sure you need to specify the number of choral singers on the first page of the score. Instruments are good at being loud, so choirs that work with orchestra are good at maintaining membership big enough to balance orchestral forces. And the choral singers generally aren't paid, only instrumentalists and vocal soloists, even with major orchestras. So usually the paid orchestral parts are the only ones given a number of players needed. Nice!

I was just playing around/jamming a bit to your tune and at 0:19 it seems possible to perhaps change the left hand into C major chord, though you may need to change a few right hand notes if you want to "fit" the new atmosphere. From there, you could do something like F major, followed by G major and back to C major. This would sort of fit the whole i IV V thing you got going in the A minor key. If you want to get really fancy (keep in mind my music theory may be not the most accurate here)...I sometimes think of the ii chord (D minor of C major as a substitute for F major. So you could add that in, though I'm not sure if that works for your piece. Sometimes, making the F major (the IV) into a minor, so F minor sounds good. I tried jamming to your ideas a bit with the F minor and it sounds okay I think. Then you have to make a decision...to stay in C major or return to A minor. You could play G major if you want to stay in C major, or get the E major going, if you want to return to A minor. Sometimes it's fun just to switch the key suddenly and without warning (my hero Schubert does it often), so you can just slightly randomly turn the A minor into A major if you wanted for fun. A more advanced idea would be to switch the key using one note that it's same (I didn't do this on the recording). So if you are playing like an A note over and over...A is also in F major and also in D major, so you could sort of just "slide" the music into those slightly more unrelated keys that way too. Voila! You instantly have variety. I recorded myself noodling around a bit so you can see. I'm just an amateur composer, and I'm sure that you can get much more "precise" and robust feedback from others on the forum. Example.mp3

Not sure where you're based. In the US, courts require "meaningful human authorship" to claim copyright, not just human contribution. You did not author the final product, just the prompt. It is possible to claim copyright to your part, but not to the final recording. Suno may have granted you commercial license rights if you paid them extra, but that is not the same as being able to claim copyright. Also, after listening to music created with Suno like this, I'm always less and less worried about AI music taking over. The use of kitsch and corny elements are through the roof, seem to have no relationship to the genre/style of the original concept, and have a redundant, non-developing form. "In my AI ethics course, any user that creates with AI is the sole author." - I am quite curious as to what sort of unreliable AI ethics course would be promoting this, as it's standard knowledge that all writing, graphic, and musical LLMs are only possible because you are not the sole author.

Civilization 5 has some pretty sick music. This is one of my favorites.

Score:

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