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Woops, I made a minor mistake, so here's the fixed version. With my program, pulling one string pulls the rest. This makes it easy to get a lot done by doing very little. Right now I'm building up a catalogue of permissible chords for use in my music. Every base (not bass) note has a number of chords associated with it, most of which I have yet to discover.

Another experiment, this one very short. It has six voices moving against each other, and is far more consonant than music written in standard 12-tone equal temperament:

No. You're not the only one intent on making an RPG! I am composing and gathering potential tracks for it while I craft my world, plot and characters. But I'm flattered that you think my music would work in your game! What kind of game are you planning on making?

can i use this? i'm actually making an rpg game!

Very inspirational and upbeat. The perfect tune for an adventure or RPG overworld. Loosely reminds me of the musical style of Secret of Mana, which had great music btw.

this was supposed to be bossfight music! oh well... 😅 next time i'll try to make it more intense.

reminds me of cerulean forest by john laurel from the wonder world demo.

I made an abomination. i made a forsaken (roblox) ust out of sonic mania instruments.

Hi @ferrum.wav! Nice reorchestration for the wip1, nice build up at the beginning. Nice cor anglais/oboe(?) at the 0:40 passage, and also the underlying clarinet! Like how you keep the opening string accompaniment underneath to provide motions to the variation too, also the drum is slowly reintroduced at the end. You don't waste any of those interesting elements even with just a small time span. Nice job! Henry

Hi @therealAJGS! Nice vibe! I feel like the music is played when the main character is walking through some gloomy corners or some remains and relics of the world. Thx for sharing! Henry

Hi @Churchcantor! This one doesn't sound like a Waltz for me without the waltz rhythm haha. The chords are completely playable with my big hands haha. Some chords with more than an octave like in b.16 can be difficult for piano players with smaller hands though. For me persoally this waltz is a bit too long overall, maybe I will cut those returns of the A sections to just a few phrases instead of quoting the whole passage. Thx for sharing! Henry

As a bit of a palette cleanser, I've decided to try writing something really simple and without microtones. This is meant for a videogame stage where the player is tasked with gathering resources or building things. Let me know what you think and thanks for listening!

Hey Peter, I always told you I have no interest in microtones at this stage of my life, but I really find this one more accessible with less apparent usage of microtones, either putting it in the accompaniment or just a bit of taste of it in the melodic part after the tonic key is established. The microtone creates the mood of repose well-living between conscious and unconscious, thus tone to microtone! Henry

Yeah me too, I only know that the old horn notation in bass clef and the actual pitch perfect fourth higher instead of treble clef and perfect fifth lower nowadays is obsolete. And, Chinese always have little to no contact to the rest of the world lol.

I just argued with my dad (a very good film composer) over bass clef old notation. He said that he learned it that way and the players who recorded had no problems. Is it because Chinese composers learned from the "russian school" and have little to no contact with the rest of europe or did I missunderstand something. All the online sources say old horn notation is obsolete. Can somebody explain it to me?

Gotcha... You could just add some accents to indicate where the strong beats are when they contradict the meter, since your music isn't following the meter in the way people assume. You can also group notes together with brackets over the top of the bars. Some editors/composers do that to show a hemiola, so people would understand what you meant. And don't worry, I believe you that you can see the video just fine. I've got particularly terrible eyesight. But I'm not the only person who does, so if you can figure out a way to get fewer bars on the screen at once, so everything is bigger, that would probably be helpful. 🙂

The forum refuses to display this one, so here's a link: https://soundcloud.com/user-321964225/experiment-a

Three samples:

Thanks man. I used mostly just samples for now while I save money for actual instruments glad you found it fits the mood

Hi all! This is the same composition as "un canone complesso" but i made it as a duet (clarinet and trombone) + guitar chords. Articulation markings make the piece better. The second player plays same thing or almost same thing than first player, but in A part 4 bars later and in B part 5 bars later. I think A part is better than B part. Duration: 2 minutes Tempo: 142

I've made further progress, having discovered a crucial principle behind music composition. The following piece, though very short, is composed with six voices and includes a great deal of so-called xenharmonicity. Better pieces will no doubt follow.

I discovered that the base pitch needs to be ideally calibrated for maximally good effect. Here's the the same piece with ideal pitch collaboration. It sounds way better, way smoother and far less dissonant:

Thanks for the feedback! For some reason I can see it clearly on my phone screen, and using my Grabdpa’s laptop I could see it with YouTube’s highest resolution (1080p), but apparently you can’t see it. If I cut down on the stagger breathe note, maybe that can save some space and expand the rest. For the “Gregorian Chant” comment, I was intending it to be free from meter, not time. The cadencing of the beginning section phrases doesn’t end neatly on 4-8 beat sections, and if you try to feel it like that, the music would feel wonky like swaying on a ship unexpectedly. Is there a way you prefer that it would be phrased?

An invention fugue is a musical invention of mine created while I was undergoing a fugue; hence the name. (It might have better been called a fugue invention, but oh well.) At any rate, I've gone back to computer programming to study and create music. My latest creation is, in its core idea, a most unique and interesting one if I do say so myself. The main idea behind it is that melody and harmony are identical to each other except they span different axes. No, I don't mean that a melody is an arpeggiated harmony. If it were, melodies generally wouldn't produce such dissonant and incoherent harmonic progressions when the notes comprising melodies are superimposed. No, the way to turn a harmony into melody or a melody into a harmony is much more complicated and esoteric than that. There is a certain principle whereby one can translate one into the other--and even superimpose the two translations over each other to create a coherent harmonic progression rather than a mere static harmony or a monophonic pitch progression. I have--and I think I am the only one who has done it--discovered the principle that makes doing this possible. Using this principle, I have designed a computer program in which I input harmonies, turning them into melodies and melodies, turning them into harmonies, and in which these two translations are played simultaneously to create counterpoint. The amount of effort involved in using it is very little. All I have to do is provide a small amount of detail, and the program fills out the rest. The piece below is the first remotely serious one I used the program to write. It's very short, and, yes, the instrument that renders it is a harsh-sounding one due to it being the best default instrument. But I think it has some merit to it at least as an illustration of my idea. It should be noted that the piece involves self-imitation, which the principles behind my program, and the program itself, makes pretty easy to implement. There is a motif used once by one voice, slowly, and, at the same time, five times at different pitch heights by another voice. It also has exactly four voices, two of which required a small amount of design on my part (much less than would ordinarily be the case when writing for a pair of voices), the other two of which were generated completely automatically.