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Well, look at you Mr. PC. My "AI Creation," really is 1:1 with my composition. If you'd feel better with me being bullied out of the entry, by all means, so you may have more fun.

So what's the part in the "piece" that is composed by you but not generated by AI? If the part is small I doubt it should be counted as your entry. Henry

"The Fury of Ukraine," was written backed into a corner by the media. I felt no choice but to compose my way out of it. I used CSound mainly, to compose. Some sounds are generated by Garritan. To create the third movement, I used an envelope - manipulating attack, release, hold, and sustain - and heavy reverb, to make it sound like a symphonic orchestra. I misplaced the score, somewhere. I'd have to venture the archives (dungeon) to find it. The first and second movement are the same music, just different in medium and presentation. I. First learned of the Patriot Missiles from my Uncle. My hope of a missile intercepted another missile was fascination, that I shortly realized "Wait, countries are going to launch missiles at another country?!" My uncle would casually state, "Not just one missile, multitudes of missiles." Luckily, my hope outweighed the fact of the matter: a barrage of missiles were going to launch somewhere, and the enemy did not know about it. The first movement of "Fury of Ukraine," is an artist's depiction of what that would sound like; no actual footage of sound was used, all sounds are generated by the artist. This is an example of aesthetics seeping into the arts, instead of the arts created aesthetics. What is under all the Artemis sounds, is a dispatch conversation, the concern for the artist how war shapes the behavior of our brave police officers. Though police are granted the use of mechanical force, and an advantage from the average citizen, but are not to be perceived as a militant force. That would go against our constitutional freedom. Comparable to the sounds I heard on the television, missiles intercepting missiles, the crackling was reminiscent a few dimensions from hell letting loose, but the silence in between was the work of miraculous intervention. My uncle told me to keep the Patriot System a secret and since, I have saluted each component in its making with great esteem. I now understood why he was so leery of Russia. II. Betrayal is a sanguine emotion. What's worse is how a sense of normalcy stings the soul, mixing emotions into a turmoil. That if we didn't have certain parts of the brain, we'd misunderstand the 'impulse' to create violence then and there. Zelensky, the leader of Ukraine, has considered stepping down from leadership if it meant helping Ukraine, but that was after his feeling of disgust having to accept a deal, under duress, from the US President over minerals. He's becoming more defiant to our leader. I listen to the second movement watching Zelensky's emotions flitter like a flame much like in the music. You can hear when the deal takes place in the music, and provocative trills send the listener in bewilderment as something happened. Reality moves slow at first, and the trill is unrecognizable. When reality is sped up, the trill can be heard and one is left in bitter extolment. III. Con Gusto, is a musical step away from the bitter cold politics to a snowy landscape exotic with strings, horns, all built on a fugue. A fugue is closer to home to Ukraine than it is to America, as the fugue was invented in Germany. I'm sure the affluence of Bach is heard stronger in the region creating a sense of stir. Con Gusto, is the feeling of energy gained from clarity. The haste can be heard as each instruments intricately intertwine to a meaning as a whole. A fugue demonstrates a whole through its sum of parts, and I imagine a well country comparable to a well oiled machine. IV. Chorale March, is a musical language that exceeds this world. The language is remedied from what Beethoven established in his romantic ideals, and in the 21st Century all music that has once been created may be further extended as a new, or neo, idea. Beethoven's romantic ideas are further known as neoromantic. The music comes from the big storybook of God, the artist uses as a peek into the future. The sounds are soothing, and begins with a big sigh. All sounds are 'cordant to create the greater sense of rational, that order is a necessity in our world to survive. If you listen to your heart, you will hear a great deal of happiness echoing through history, that when we work as a whole there is sometimes friction - there is always peace within. You can hear what is bare for the human in the absence of identifying personas, that I am only with my country when I want to be, that I am only who I am when I want to be, and to simply pause you can feel the love of God and him smiling upon us in our efforts to create something worthy of ourselves. Though, it is sometimes a symphony to remind us to pause.

Here's my submission, all finished and complete:

Thank you my dear Kvothe As i said to Henry, “Yes, this sonata was modeled after Schubert, and yes, it is classical-romantic both in terms of structure and harmony. I’m incredibly happy that the final result is what it is. As for the next step, I don’t know. For now, I’m writing what expresses me — something classical to early romantic in style.” Thanks again for your apreciation and your attention

Hello my dear Henry. “Yes, this sonata was modeled after Schubert, and yes, it is classical-romantic both in terms of structure and harmony. I’m incredibly happy that the final result is what it is. As for the next step, I don’t know. For now, I’m writing what expresses me — something classical to early romantic in style.”

A piano piece I wrote called Lazy Day. I think I could've elaborated more in some sections but overall fits the theme of the song 😄 Looking for feedback on the piano score as I know notation is not my strong suite. Thanks in advance & hope you enjoyed listening! Lazy Day Score.pdf

Yeah, I am not thrilled about this. Movies theaters will so longer be thing.

On the 4th movement: Ronodo-Sonata? As henry mentioned, and I agree with him, the character and mood fits within the classical period sonata. It is light and humorous. What makes more interesting is the modulations. We are not moving to direct close keys by 5ths. No. We are moving chromatically; and possibly enharmonically to keys that are futher away! This was the trademark of romantic period. The romantics wanted to push the bounds of tonality. Even Wanger obscure it, which opens to the door to 20th century. The next step: maybe look into romantic style. Rolen wrote about this. 🙂

So the big news today is that Netflix will acquire Warner Bros. and will now own all sorts of IP including Lord of The Rings, Harry Potter, Mortal Kombat, Batman and so much more. Immediately, they wasted no time at all announcing "shortened theatrical release windows". In essence, they are aiming to kill movie theaters entirely. https://www.cbc.ca/news/entertainment/us-netflix-warner-bros-acquisition-9.7004170 This is going to put a tremendous amount of people out of work and lower wages across the industry just so that Netflix can increase subscriptions (and no doubt jack up the price further). Why is this bad for you, as a composer? Well, the TV and Film industries remain the most lucrative path for composers between not only composer fees, but longtail royalty payments. Even mid-tier indie films have the potential to pull in millions of dollars in revenue against tiny budgets at theaters. For example, at a film festival I recently attended, some of the films that had been short films in prior years went on to become multi-million dollar projects. Simply put: Streaming means smaller budgets and as an individual film is no longer a product unto itself, especially not if you can only stream it on one service and not "rent" it like on Amazon Prime, the "profitability" of that film is essentially zero dollars now. Because everything is consolidated under one subscriber base. Even with hundreds of millions of subscribers, there is no way that this fixed income can be redistributed to fund anything resembling quality content in any sufficient amount. That means lower pay, lower budgets, and even less room for risks and originality than what Hollywood is already starved of. Regardless of what you think of him, now would be the time for the orange man to do something about these growing monopolies, but what he'll probably just do is more tariffs. Personally, I think this move is going to be a big, possibly final nail in the coffin of the American movie industry. The earning potential for everyone down to production assistants is going to plummet in the American movie industry, and I think you'll see all these people turning towards European and Asian markets. There will be even more creative brain-drain on North America than there already is. Curious to know what you think about this?

Thanks Henry! That upwards leap in b.58 is definitely a cry of anguish for me. Glad you liked it! I was actually considering dropping the whole first movement: so great minds think alike! I agree it's the weakest of the three, perhaps because it's too pastiche, and also feels like it's treading water in the middle section. Since Vivaldi was a major inspiration, I was trying to evoke his violin concertI in my style of composition. For example the repeated notes in the third movement coda are typical of his music, and help to inject extra impetus and energy.

Hi @Alex Weidmann! About this I have a crazy suggestion. Maybe you can just cut out the whole first movement and leave the last 2 movements as a pair, because for me those 2 are better movements, while in baroque style they have modern touches. 1st movement also has its modern touches but is more traditional. Or just keep some passages of 1st movement as introduction, then enters the 2nd and 3rd movement in full. I do feel the emotional weight in 2nd movement and I like moments in b.58 when the soloist really sings. I also like the driving rhythm in both 1st and 3rd movements. Thx for sharing! Henry

Hi @therealAJGS! It does hurt my ears with its loud dynamics lol! Nice sound effects tho and cool music. Like the minor major seventh chord. Henry

Ooh looks like I’m too late here @Cafebabe……. Henry

Hi @Tunndy, The melody does has some Chopinistic influence and I think you should definitely extend the piece! Some of the C natural and F naturals should be B# and E# instead. I have imitated Chopin style long ago and post a piece here lol so you may check that one out: Thx for sharing! Henry

Hi @Wieland Handke! It’s nice to see all those D major passages run into my favourite C sharp minor haha. Nice counterpoint, just beware that some C natural should be B sharp instead. Henry

Hi Peter! With the strong slurs and the microtone it makes me imagine Celery chasing a ghostly love lol! It’s effective but sounds more like the love in the film Ghost even tho there’s “Oh My Love My Darling” there lol. Thx for sharing! Henry

Hello @Mason M! I just listen to the 1st movement. Do you aim at a more classical style or not? I like the light mood here, some interactions between instruments like in b.78 section. The use of the short short long long rhythmic motive is also apparent. Do you try to write in Sonata form or not? Also for me, passages like in b.66 to 68 sound less in style with the parallel 5ths. Thx for sharing! Henry

Hi @Vasilis Michael! Just on the fourth movement it’s funny and full of great modulations, and the mood is light just like many Classical sonatas. On the whole sonata, I think it’s more like an early Romantic sonata with all those more advanced modulations. But whatever style, I like this one. Maybe the next step would be to start finding newer voices! Thx for sharing! Henry

“Greetings, dear friend. I’m very glad you liked my sonata. In general, I’m extremely satisfied with this particular work. I worked on it and believed in it, and in the end something more came out than what I had expected. Thank you once again. When you find some time, listen to the last movement as well.”

I wrote this while listening to Jerry Bergonzi's Quartet play. One of the songs was, "Dark Matter," and I sampled a lick to an atonal fugue. Dark Matter.mid

Why hello @Vasilis Michael I rather speechless here! This sonata is truly showcases the classical style. MVT 1: Sonta I did not expect the PT to return after the transition and musical pause (MC). That is a lovely twist on traditional form. I also enjoyed how you connected the repeat of PT to ST then to closing section. Everything flows so nicely. The 16th notes run reminds me of Mozart! Even your themes, do. They are so simple and effective. MVT2: Ronodo This reminds, in a way, either one of Beethoven rondos or Mozart's. I just do not know which one. I enjoy simple chorale, homophonic texture and how they slowly evolve thorough out the movement. MVT3: Minuet and trio This well written minuet with a trio. Great work.

A piece for strings. It's rather short, but I like how it turned out. I'll attach the midi (as a lazy substitute for a score ^_^)strings.mid

Harvard's Ferris Choral Fellows, directed by Carson Cooman, Harvard's Composer in Residence, were kind enough to use this piece in a Morning Prayer service at Memorial Church. They sang the a cappella SATB version of this piece, so I thought I would share the recording here. Enjoy!

I am in 🙂