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I daresay this one sounds to my ears pretty epic.

"Thanks for the honest feedback! I'm glad the music itself sounds good to you. I will try to improve the visual spacing in my next pieces."

Absolutely WONDERFUL I looked at your PDF , and iv never seen ANYTHING like it....... how do you create the program that does this stuff ? or is that "Classified-Information"......if so then i do understand you cant share that . One of the reasons i joined this forum was to study and comprehend The ......... "ATONALITY" "CLUSTER" Concept But i still cant figure it out.............I presume your using ALTERED Chords in this composition ?

Could I do a solo instrument? If that's the case, I might write for 4 mallet marimba and join! Nevermind... Any ideas for a percussion trio, anyone?

"Ambience," is a saxophone feature. The score is attached if you want to attempt the song. Ambience.mp3 Ambience_AltoSaxophone_Harper.pdf

Highly mesmerizing. Highly entertaining. Is this going to be a full fledged show?

"Archeangel," is a Fractal Fugue developed from my website: www.atonalfugue.net The matrix is: [0,2,9,3,7,11,4,8,10,1,5,6] It's based on, Webern's Symphony, which has no transformations according to my theory of matrix modulation. It moves at 30 BPM, and follows Mason's rules of composition, albeit serialism, at that tempo. Attached is a complete analysis of the numbers. You can tell, according to the galactic harmonics, how much thought was put into that matrix. I Joke. However, looking at the analysis, there are some interesting inferences: 64. GALACTIC FREQUENCY ANALYSIS ▸ COSMIC ACOUSTIC SIGNATURES Milky Way Frequency Drift....... 0.9305 Andromeda Collision Sonic Reflection 0.5836 Dark Matter Interaction Tone.... 0.2100 Supernova Remnant Frequency Mapping 0.3495 Pulsar Waveform Analysis........ 0.9389 Black Hole Sonata............... 1.0000 Neutron Star Collision Harmonics 0.2377 Galactic Echo Sonification...... 0.6505 This is what I'm jamming on now. It's said that we are composing the very thing that the universe's materials encompass. It's only fair to analyze it as such, too. I mean, we don't have to agree - there is room for independence in what I have to offer in the website. So, what do the numbers mean? Numbers, are often static. When paired with music, the numbers become realized through motion. In this case, as each number permeates through a representation of music, the numbers become more viable. That's expensive to convey, and data intensive; I guess it just means that the numbers are a symphonic glade of information that is easier to ingest than learning about it. I hope it sounds good, in any case. Based on the acoustic signatures, I can conclude that there is a weak correlation to Dark Matter, but there is a strong correlation to Pulsar Waveform Analysis. I do like the idea of Galactic Echo Sonification, in my music too. I hope you have fun with the website, empowering your music, too. Archeangel.mp3 Archeangel.mid WebernSymphony_Analysis_AtonalFugue.pdf

Yeah, but look at it like this. I copyright the music before entering it into AI. The AI creates a variation based on my music, therefore it is still mine. IDK, I try to make the AI music as identical to what I compose, too.

Hello @Vasilis Michael It is refreshing to see a binary sonata form. Binary was primarily used by baroque period composers before the proper form took off. In the A section, you would have your primary theme in tonic. Followed by contrasting B section in the Dominant. What makes binary stand out: the lack of transition between the two sections. Or maybe there is one(?) We can tell there are two major sections. One that repeats and one that follows after repeat of first section. Ergo. binary! I love how the main motive is used thorough out the entire piece. It moves so flawlessly. As usually, your writing is on par! I could not hear anything wrong. :)

Hi Tristan, This sounds very nice! I would suggest finding a different composition software to use, however. The spacing of the notes on the page is a bit all over the place, which makes this challenging to sight read. Musescore is a good free option that sorts that out for you automatically. I haven't used Vocaroo, but I understand it has some AI features for editing recordings?

I love how this one turned out. It's remix of a piece about the art of magic and the magic of art.

For the first time in my life, after watching a few harmony videos, I wrote this waltz. I'm curious to hear your opinion. https://voca.ro/1juGRRVoFhLh Walzer in G-dur.pdf

@Asgarzade Music School Fancy seeing you here. To answer, Henry question. Possibly yes. :) @Henry Ng Tsz Kiu if you know members who earning to learn this, @Asgarzade Music School is great.

This Concludes the | Trilogy Template Series...................This one's My Favorite Part 2 of the TRILOGY Template-Series :

Not normally, no. They are standard in our industry. The only time it would be broken is when you have a larger ensemble or other instrument combinations that are not standard. In this case, it’s not about orchestral order, it’s about highest-> lowest instrument for the layout.

@MK_Piano Thank you for the help! Are there exceptions to break normal score order? And yes now, see that now, it was blockish in arrangment. Good point

I'm pleased to present this new website of musical tools that I've recently developed. I hope you find it useful, and any suggestions are welcome. https://emusic.tools/en

Hello! It is time. As you asked, I have delivered. Attached on this comment are my annotations on the arrangement thus far. Directly under, I have attached a sample PDF and sample Audio file to pair with my notes. The notes are found at the end of the current score and if you have any questions, please do not hesitate to ask! Kvothe - Reger Humoresque (ANNOTATED).pdf Attached Files: Kvothe_Example.pdf Kvothe_ExampleAudio.mp3

This one recalls a dream I had about the Land of Oz, with me specifically visiting the Emerald City. In this dream, I got a glimpse of the ancient fairyland in its modern incarnation. Apparently, like the United States, the Land of Oz is in a bad state at the moment. It was recently ruled by a dictator who had his heart--in both senses of the word "heart"--removed, and the magic native to the realm has gone out of control, as is the wont of magic. Anyway, enjoy the music.

Hi @Henry Ng Tsz Kiu! Below you will find in depth review of this haunting piece! First, let me say what your piece reminds of. It reminds me of Chopin's Nocturnes and Rachmaninov musical moments and preludes. Both, in their on right, wrote lush, emotional themes over triplet 8th pattern. In fact, Rachmaninov used that pattern in his 5th prelude. Nonetheless, we can still bass patterns in our own works! I love how you establish the harmony using that pattern over theme. The pattern slowly changes as the theme moves. The chromaticism creates sense of mystery and wonder, by the way. The transition into the B section is exactly what we need to hear: a break down of the thematic material before a new section! (why does this remind of Franz Listz) After we hear the B section, we return to A, briefly, to remind us of the haunting theme we heard at the start. Then it finishes all together. Overall, I thoroughly enjoyed this.

slow mo slowmo.mp3

A tribute to the Late Liberace 1970's World famous highest paid musician and pianist | Net Worth $115 million https://www.therichest.com/celebnetworth/celeb/liberace-net-worth/ https://en.wikipedia.org/wiki/These_Foolish_Things_(Remind_Me_of_You) LIBERACE TRIBUTE.mp3

I would be tempted to just add a caesura marking between the repeated section and the continuing bars of #5... Since this is a work for solo instrument that doesn't need coordination between players, there is no reason you can't trust the musicality of the soloist to add an appropriate amount of rest. It's always nice to see something written for solo instrument, as so many of them are a bit neglected by composers. Very enjoyable and I think a live performance would bring out the phrasing nicely.

Hi, today I come with a waltz haha. In this piece I wanted that 1-2-3 “waltz” sound in my own style. I composed this in a short period of time so I couldn't develop a variation of theme A. However, I like how it sounds. Someone who listens to the piece said it has a “distorted Beethoven sound” that is interesting haha; what do you think? I hope you enjoy c: Vals No.1.mp3 Vals No1.pdf