All Activity

Hellooo, I made this waltz as an attempt to approach music for pedagogic uses. I also tried to give it a 'funny' sound so this waltz uses a lot of dramatic/parodic gestures. I think it turned out pretty good and funny. Hope u like it!!!!! <3<3 ·<{:D Vals I.pdfVals I.mp3

This is cool I never hear something like this

Oh yeah, I think you are right. Thank you for teaching me.

This is just my Opinion......you don't have to agree with it............But maybe its best to base opinions on fact not fiction. GENRE | Music can be classified into GENRE | Disco-Rock-Classical-Folk : - what GENRE is your composition ? CATEGORIES | This concept identifies the difference between an "Apple from an Animal"........Music from Noise.

This is my Piano Composition No. 4. I hope you enjoy it! Feedback is always welcome! Piano Composition no.4.mp3

Here another example with text in Latin.

Thank you for your reply and honest thoughts. -Regarding your question Music is a work of sound. Therefore, as long as it is presented as a "work," it is created with some kind of purpose or intention, regardless of whether the sound itself is noise or not. In that sense, the difference between noise and music isn't about the sound itself; rather, it’s about whether that sound has been incorporated into the context of a “work.” If a sound has no intention behind it and is not presented in any form, it is simply noise. However, if it is presented by the creator—or even perceived as such by others—it has the potential to become music. Regarding SFX (Sound Effects), they are not the primary focus but rather a secondary element to the visuals. While they undoubtedly play a crucial role, whether SFX can stand alone as music depends on whether making them so is "meaningful." At the same time, I believe another essential factor is whether the work brings value to the creator or the audience—be it through being provocative, original, or inspiring. Even if you present a sound work with a specific intention, its true "greatness" is objectively evaluated by whether it is genuinely meaningful. That is exactly why I would like to hear your honest opinions on what you all think of this piece.

|Question |..... Whats the difference between " MUSIC vs NOISE " ?.....Is it possible to convert NOISE into MUSIC ? Your Sounds might be classed as : SFX | SOUND EFFECTS .

This is the best, Intellect! I cannot love it enough!

-This is an avant-garde electronic music piece. I would love to hear your feedback!! -Concept The piece is divided into three sections: A is the introduction, B is the main part, and C is the ending. Section A: Starting with an electronic explosion sound. Section B: I experimented with panning a specific melody note by note between the left and right channels, then layering it at different tempos. The goal was to maintain the overall atmosphere while making the melody itself unrecognizable. Section C: I intentionally used clipping to create a sense of something approaching, though I’m not sure how effective it actually is. I would truly appreciate any feedback you might have if you have the time.

Hey there! I am new to this forum and would like to present my piano ballad (version 86). It was critized strongly in another forum, mainly because of the piano melody. The piece isn't completed in full. From 1:53 on the dynamics of the topline strings aren't edited yet. Because of the many critics I composed 3 new piano melodys (version 90,96,101). What is your hearing impression? How do you find the 3 melodys? Piano Ballade_86.mp3 Piano Ballade_90.mp3 Piano Ballade_96.mp3 Piano Ballade_101.mp3

Here is a new section to the piece, any and all feedback is appreciated. Note that some of the markings and instrumentation is for the purpose of the playback. The instruments take up three pages so it’s kind of a tedious read ScreenRecording_05-08-2026%2000-56-14_1.mp3 C major.pdf

Hello! This is an original composition that I plan on submitting for an ORFF workshop competition. The guidelines were to use 3 xylophones, a glock, a bass xylo, and any unpitched percussion. I had fun writing this, but I'm curious as to what grade ORFF certified people as well as fellow music educators think this would be suitable for. I'm planning to submit it to the 5th-6th grade category. Feedback is very appreciated! Thank you! Sonor Orff Piece - MP3.mp3 Sonor Orff Piece - PDF.pdf

Thanx.............. perhaps we can discuss this privately via personal messenger The ability to export to midi................ could be complex.

Thanks pateceramics for your review and appreciation of the piece. I am glad you enjoyed it. Thanks also for giving me the idea of caesura markings. I will make sure to consider them as an option in future pieces for solo instruments.

Hi ...This is for those that might like to Discover, the Perfect Neo-Soul Chord-Progression for beginners . this guys video is Quite informative. NEOSOUL JAZZ.mp3

Subject: Honest Feedback Requested: Lithl - Swarm of Sound (Polytempo & Polyrhythm) I would like to hear your honest thoughts on my piece, "Swarm of Sound," without any flattery or sugar-coating. I don't mind harsh criticism at all; in fact, I would find it very helpful. This was submitted to the Sonuscore Competition. (While the music was not originally composed for this contest, the video was created specifically for it, so it differs from the actual original concept.) It was rejected, and I want to know exactly why it failed, where it fell short, and whether it even functions as "music" at all. Please provide your feedback without any compromise . =The Concept= Idea: The piece was built around the imagery of a massive swarm of percussion with strings.While the result bears a slight resemblance to Ligeti's Requiem: II. Kyrie. Molto espressivo, it was created primarily out of curiosity—specifically to see what would happen when stacking polyrhythms in polytempo based on my initial imagery. =Compositional Elements= A. Polyrhythm: Based on the concept of using 12 notes in the strings, I chose a 3:4:7 ratio (resulting in 12 notes per cycle). B. Polytempo: The above polyrhythms will be performed in polytempo.I determined the tempo based on a manually drawn graph. There are 12 sections; each new tempo is added as the previous cycle ends. The tempos are based on integer ratios rather than simple multiples, progressively getting faster. C. 12-Tone Strings: To evoke the "swarm" image, I used all 12 tones. Strings are triggered simultaneously with the polyrhythmic/polytempo timings and held until the next note is played. Furthermore, the strings are layered in octaves. This ensures all 12 tones are constantly sounding to heighten the sense of chaos. The strings are played with tremolo. D. Aleatoric Selection (Dice): To remove personal bias from the note selection, I attempted a randomized system based on simple rules (inspired by John Cage). Specifically, as shown in the video, I created a table using dice to select the notes. This makes it more chaotic and hopefully creates a kind of swarm of sound. =Final Note= I submitted this because the timing coincided with a contest held by Sonuscore, a major strings library developer, but consequently, It was rejected. While the other entries were undoubtedly wonderful, I am left wondering if this rejection proves that I lack talent or that I am merely producing self-indulgent noise that provides no value to the listener. If that is the case, I intend to change my approach immediately upon receiving feedback. Please be blunt. I am not looking for comfort; I am looking for a harsh, honest critique. I would truly appreciate your rigorous feedback. (Private feedback is also highly appreciated.) Thank you and sorry for taking up your time.

Dear Aaron, I am also glad to see you here.

Actually, a polychord; Eb Minor against F Major. Can anyone write a piece based on polychords like this? Hint: think counterpoint, but in chords. If no one takes me up on this, I'll do it myself. This Chord... Free Sheet Music by Outis for Piano/Keyboard | Noteflight

Thank you, sincerely, Interlect. This program has been a passion project of mine for the last 3 years. It began with a simple modulator, then transformed slowly to all the features on the site. No, it's not classified information. Since you asked nicely, I can tell you, actually! 😃 So, I've been following Ai and its strength is analysis, while its weakness is physics. Physics, is just not there yet. If you ask Ai to analyze anything, it will give you information that is great to bank off of and further reason with comparable inference. I made this program with Copilot, then Claude, then Perplexity, then Claude Code. Ai kept fabricating my findings with implementation; so if you want to make something like this, do it a day at a time. I didn't use any Altered Chords, but I did create a method that composes with serial intent. Check out the website. It has the ability to export to midi if you want to collaborate with me?

@Vasilis Michael Yes, Yes. It is nice to hear when someone mixes different styles and forms together. I would love to see a binary form using harmonic langauge of listz. That would be interesting. Or cyclic sonata using classical harmonies. the sky is the limit. ;)

My dear friend, thank you very much for your kind words. I composed this sonata in just a few hours over the course of two days. It was a moment of inspiration, and everything came very naturally. I’m truly very happy that you enjoyed it.

Hello my dear friend, First of all, thank you for taking the time to listen to my sonata, and I’m truly happy that you enjoyed it. I thought it might be nice to share with you how I conceive these sonatas in my mind. The truth is that I have blended many different elements into binary form with the intention of creating something personal—my own voice through binary form. Structurally, it is indeed binary, as expected. What I do differently is to approach it with a more Classical sense of transitions and dramatic development. So in essence, my sonatas are fundamentally binary, but with a Classical morphology, featuring clear transitions and the sense of dramaturgy found in the Classical era. Harmonically, I would say it is a mixture of many influences—primarily Classical, with touches of early Romanticism. I absolutely love binary form. Domenico Scarlatti has been an incredible inspiration to me, and I decided that I, too, wanted to create a vast musical diary of binary sonatas—works that truly feel like my own personal musical journal. At the same time, this form encourages me to be bolder, more innovative, and more adventurous compared with other genres. Once again, thank you, my dear friend.

Bumping so people can hear the changed endings and edits.

I'm impressed both by your light touch playing this, and the lack of scratching out on your handwritten copy. If I wrote that way, it would be all chaotic scribbled out former ideas. The interplay between your first and second sections works very well! A very satisfying piece to listen to!