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It sounds pretty good to me. The thing is, I don’t think music actually ‘describes’ anything. It’s a different matter if you explain which image or situation it accompanies, as is the case here. And yes, I think it fits that perfectly. I like the bit at the end where a section comes in – I’m not sure if it’s brass.

Here are some songs and lyrics. Some are from comedy shows and not suitable for Renaissance or Baroque modes but they give you an idea of my diversity of work. I'll work on 'Pericles' and 'Titus' over the next few days (though I shall be away for four days next week) and could send you a libretto for either in a couple of weeks' time, if you wish. You may not like either but it would be worth looking to see. Best regards, Richard Poems and Songs by Richard Moore.pdf

Thank you for replying. I have written some libretti based on Greek classical drama and operas based on plays by Shakespeare. My libretto for 'Titus Andronicus' needs some revision but might respond to a classical baroque treatment. The original is a rather gory tragedy but I refine the gore (I hope) while maintaining the main plot thrust. I have also written libretti to form an operatic version of 'Twelfth Night', 'Pericles;, and 'The Winter's Tale' (also 'Cymbeline' but that one is less good, I think). I'm fond of my 'Pericles' libretto. I think it makes a good dramatic entity and would work well and dramatically on stage. I am very conscious of audience requirements - a strong plot and in opera particularly a transportation to a world of higher sensibility without losing basic pleasure in melody and dramatic thrust. May I send you some sample lyrics - I have a whole sheaf of poems and opera lyrics which i could send you as well as the libretto for a particular opera. I have word and pdf files available. For the record, I live in the Scottish Highlands and am in a final stages of a career teaching literature in Universities. Hardly young any more but wanting to branch out more into music drama. (Several of my straight plays have been performed in universities). I attach one of my straight plays and will send some songs and lyrics later today. Every good wish, Richard JSWRM A Faithless Floréal.pdf

RESOURCE 3 Hi Guyz ROYALTY-FREE | COPYRIGHT-FREE | NO CREDIT REQUIRED Backing Trax, for songwriters, producers, artist, & SINGERS. 1: STRUCTURE : CHORUS, VERSE , BRIDGE , | DOUBLE CHORUS-ENDING | 2: TEMPO : 125 BPM 3: GENRE → ROCK ! 4: ENCODED SETTINGS : 320 Kbps, CD Transparent Audio | 44,100 Hz, 16 Bit, Stereo, MP3 5: DOWNLOAD : Right-Click PLAYER | Save Link As RESOURSE 3 - ROCK 1 Royalty Free - Copryright Free - READYMADE BACKING TRAX.mp3

Μy dear friend, I honestly don’t know how to thank you for such a thoughtful and heartfelt message. Reading your words genuinely made me smile. Of course, being mentioned alongside composers like Mozart and Beethoven is an incredible honor—far more than I feel I deserve—and I’m deeply grateful for your generosity. What touched me the most, though, was what you said about wanting to hear just a little more when the music ends. I honestly don’t think a composer could ask for a more meaningful compliment. These Binary Sonatas are very special to me. They are my musical diary, and each one reflects a part of my journey as a composer. Knowing that my music connected with you in such a genuine way means more than you can imagine. As for your question, I write mainly for the piano, as it is my primary instrument and the place where I feel the freest to express myself. In the past, I did experiment with other ensembles—I wrote a Divertimento for wind instruments and a few Minuets for string quartet. I would love to write more chamber and ensemble music in the future, but for now, my musical voice always seems to find its home at the piano. Thank you again for your kindness, for taking the time to write such a beautiful message, and for continuing to follow my music. It sincerely encourages me to keep composing.

Ai was used at the very end after composing the work as post production. There's nothing easy about making music with Ai, just putting that out there.

Can I ask what you mean by AI in this work? I admit I am confused from seeing a finished score attached.

I wrote a symphony that utilized a little bit of everything. The composition took 10 years to complete, and am very happy with it. It features areas around, Kentucky - mostly the pennyrile that holds a lot of pride in the area. The score is attached if you want to read along with the music. Pennyrile Suite_Harper.mp3 Pennyrile Suite_Harper.pdf

Thank you, currently i'm not planning to add a pavan. But i could add one later!

Hello! I have been wanting a libretist to compose my first REAL opera. I only have worked on smaller musical dramas before. I work in the style of the late renaissance up to the early and mid baroque. Do you have any librettos in that style?

Hello, I've found your stuff on youtube before. I enjoyed your music then and I also really enjoyed this piece. When your music ends...there is a sense of longing for a bit more. Personally, I don't get that often from most music... I am someone who listens to some classical music here and there and has some classical training on piano. Enough to appreciate it, but probably not enough to be able to analyze and understand the structures/conventions of the time period. All I can say is that if I listened to your music and listened to some of the greats from Mozart/Beethoven, I really can't tell any different. You could have posted here your piece was a brand new manuscript from the 1800's from a major well known composer and I would have believed it. Your music is really quite something. I wonder if you ever write music in other genres?

Hello, I listened to it twice. When you say corrupted, it made me think of this piece by Denisov: it's pretty long. The first 10 minutes is just Schubert (can you probably skip through it, if you want), but it gets a bit weird, no longer just Schubert, perhaps corrupted at around the 10 min mark and by the end of the song it gets pretty weird before returning to a bit more normal. There are parts of the song where it doesn't really feel like classical music anymore, definitely noticed something off at measure 70. And around measure 105 is when it really becomes noticeable to me. I can recognize a theme that persists throughout, even as you change things up, so that's nice. I think there is some notation issue at measure 84? Not sure 100% about the tied note. The part at measure 50 reminds me a bit of that famous Mozart variation, I think in A major?

🍎 𝐂𝐀𝐍 𝐂𝐀𝐍 | 𝟎𝟎𝟕 𝐒𝐇𝐀𝐊𝐄𝐍 𝐧𝐨𝐭 𝐒𝐓𝐈𝐑𝐑𝐄𝐃 A touch of JAMES BOND...................can you recognize where it Starts ? CAN CAN 007 SHAKEN not STIRRED.mp3 CAN CAN 007 SHAKEN not STIRRED.mid CAN CAN 007 SHAKEN not STIRRED.pdf

duuudee i just read about this on a book as well and i already fumbled on this piece lmao. but yeah, i also agree, the accompaniment patterns are monotonous and definitely one of the primary subjects of revision!!! need some punctuation and need to highlight the peak of phrases more often thanks for the feedbacks @Henry Ng Tsz Kiu !!!!!!!!!!!!!!

@Luis Hernández Thank you for listening! Yes! that was the general idea. I wanted the piece to begin with a clear classical language and gradually become destabilized by something outside of that system. This is reflected mostly in the larger architectural decisions, but also through smaller stylistic choices. It's interesting that you heard the second section as pre-baroque. That wasn't my conscious intention, but I can definitely see why it comes across that way!

A very interesting piece. Although I don’t quite grasp the idea. I’m not sure if you mean that it begins with a movement that sounds very classical and then takes a few twists and turns. The second part seems to take a stylistic step back, as it sounds pre-Baroque with unadorned lines and a modal sound (perhaps Dorian F).

Hi! First of all, before anything else, I want to say how amazing this forum has been for me and how friendly and helpful the community is. This is the only place where I truly feel I'm getting the kind of feedback that helps me grow as a composer. Thank you all for that! Now for the music. I wrote a piece that explores the idea of Classical clarity being gradually corrupted by an unknown force. As the music unfolds, the familiar structure and stability slowly break apart, transforming into something different. There are a lot of little details and ideas I tried to communicate through this piece, and for the last few weeks I don't think I've gone an hour without thinking about it. Naturally, I feel very connected to it, and I'd genuinely love to hear your thoughts and feedback. YouTube link Score Movements: 0:00 Allegretto 1:44 Adagio 3:28 Andantino Corrupted Sonatina.mp3 Corrupted Sonatina.pdf

I have a few ideas, so I'll write them down. 1 - Groover: I like the sound of the word 'Groover'! Although there are some rhythm-related badges already, it would be cool to have one specifically awarded to creators of tracks with that groove, like in jazz-fusion or funk. It would be fun to hear more groovy tracks on this forum. 2 - Meticulous Composer: Literally, a badge awarded to those who submit a piece where every element, such as DAW playback, performance articulation, and panning, has been meticulously crafted. 3 - Gentleman: This is a bit different from music. However, I think kind members are important to the community. So, it would be great if someone who has been treated kindly gave something back to that person. 4 - Synthesizer Master: To everyone creating amazing sounds with synthesizers! An icon resembling a small Moog synthesizer might be a good idea, something that’s instantly recognizable as a synth. 5 - Mixing Master: To the creator of a track with amazing mixing! 6 - Stimulator: This badge is for creators who spark inspiration in others, whether a track sparked a new idea or motivated someone to start creating. It’s awarded to those who serve as a great source of inspiration for the community members. By the way, how about introducing a system where members can anonymously nominate someone for a badge by simply providing their username (the person you want to give it to, with an @ symbol) and the reason? I imagine some people might want to award a badge but feel a bit too shy to post in the "Award Request Thread." It’s a shame that such great badges exist but aren't being used very much! Best, Lithl.

Hello @UncleRed99 The slow, rich underlaying brass lines provide rich harmonic counterpoint to the trumpet tap part. It so somber, yet so bittersweet. I can imagine this being played when they lower solider down in his grave. So sad but needed at the correct moment. Sometimes, music is there to remind that death is always tragic, but it brings a peaceful closure to one's man heroic journey.

hi...... do you mean this kind of style ? Classicals.de - Royalty Free Classical MusicJacques Offenbach - Biography & Compositions | Royalty-Fr...Read Jacques Offenbach’s biography. Listen to and download high-quality audio recordings and sheet music. All royalty-free, with no signup required.

I am a librettist of many years standing (I also taught literary topics in universities). Recently I have written a libretto for a comic opera based on 'Kind Hearts and Coronets'. This would require music of pastiche Sullivan-Offenbach type but also includes some serious arias fit for bel canto treatments. I would be glad to hear of any interested composers.

Excellent ..................You Cannot improve on "Perfection"...............no alteration needed,or required

For those who don’t speak French: “Dear fellow composers, this message serves as an official declaration of my participation. I am delighted that my theme was selected as the winner. I'm sure you'll all love this French poem and I can't wait to discover the music you're going to compose!”

My intent is to participate, however, I can make no guarantees. But for now, consider me an entrant to the event :)