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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

The third track from my very first vinyl - to be continued... An old car, a bit sad, slightly melancholic—exactly the kind of song you'd want to listen to while driving in the rain. All guitar parts were recorded live.

Again, this time score with "normal" clefs :) De Profundis_normal_clefs.pdf

March from the cycle of musical illustrations to Max Dalin's novel "The Bonfire and the Salamander." Composer: Alexander Khomenko. A stylization of early 20th-century military marches. Written for wind band.

I listened to your waltz. The concept strikes me as interesting, and so does the way you work with harmony: you clearly try to move away from conventional progressions. The semitone relationship between the triads sounds interesting and vivid. But, purely in my opinion, it isn't very well realized here. If you make a signature feature out of this progression, it should be carried through the whole piece, very clearly and consistently. Yet in bars 6–7, and again in 9–10, you break your own scheme, and the piece goes from interesting to a bit dull. If you had held on to this harmonic ostinato (G minor and F-sharp minor), it would have come out much more convincing. Good luck! =)

Poem by, Goethe: Über allen Gipfeln Ist Ruh’, In allen Wipfeln Spürest du Kaum einen Hauch; Die Vögelein schweigen im Walde. Warte nur, balde Ruhest du auch. Aesop.mp3 Aesop.pdf

Thanks for posting the update. For the voice-leading question, you could choose one short cadence and post those bars with the vocal parts, bass and your continuo realization visible. That gives readers a manageable example to discuss, and you can apply the idea elsewhere rather than revising all 18 sections at once. If your choir-notation question is about the older clefs, label that separately so readers know you are asking about readability rather than transposition.

I've updated playback now. Continuo is probably not very correct in meaning of voice leading, but it would take triple this time to do it... Also the score had some minor typos in choir words, so it's also corrected. I don't know if I should change keys for choir, so I let them stay like this for now. Waiting for further things to improve here or in next works.

The second track from my debut vinyl album. It consists of two different sections: the first part transports you about 200 years back in time, followed by a repeating four-chord loop with varying arrangements and, naturally, live guitar tracking. This was translated automatically as I don't know English, so I hope it accurately conveys my message.

Thank you! :)

listened to your quartet and thoroughly enjoyed it. It's a finely crafted neoclassical piece. You've both preserved the style and built a very clear form, which is extremely important for works of this kind.

I listened to your composition and enjoyed it. It has an interesting image, and its musical language is simple but not boring. The form is good, too: a well-proportioned ternary structure with a recapitulation. Best of luck in your future work :)

A short baroque x romantic piece for you guys I wrote in the midst of three gruelling days in my conservatory. I subconsciously composed this piece to be sort of a theme for an imaginary nation I created whilst writing my first novel. All feedback is warmly welcome! Do tell what sort of a city/nation emerges out of your imagination having listened to it, and also if it resonates with the title. Land of White Palaces and Black Dreams.mp3 01 - Full score - Land of White Palaces and Black Dreams.pdf

Thank you so much. Basically the voice is not recorded but generated using an ai vocal synthesizer. Cheers

Your composition doesn't sound terrible at all; on the contrary, it's interesting and cohesive. But yes, you're right: it's technically not easy to sing. It takes a very strong vocalist. Could you tell me how you recorded it? You've intrigued me with your remark about an AI performer.

I used older ones just for fun/to learn to write in various keys. I can always change them, I forgot about it to be honest 😅