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No .. there are no rules! You can submit as many pieces as you want. @J. Lee Graham - yes, please submit a link to your piece in this thread. Thanks for your participation!

Try to write a piece of music, with a maximum of 2 notes playing at the same time. I have done this before. My fourth Sonata, C Dur Sonata is written this way. Try arpeggios, fast notes, anything works. No other rules. Have fun!

Just literally...

I've only recently started this, but I would love to hear suggetions 😄 nutcracker inspired.pdf nutcracker inspired.mp3

Hi @PeterthePapercomPoser I have made it viewable for anyone!

Ooh, I just dropped a short Christmas-y piece in with Piano/Keyboard works. I'll mark it as my submission if that's okay, or do I need to post it here?

Here's a little Christmas card for y'all I found from a few years ago. It's probably not the best fugue ever written, not by a long shot, but it's fun. Composed: December 22 - 24, 2017 at Austin Scoring: Keyboard solo Style: Baroque Duration: 2:09

And also a last movement Finale with an Introduction de Capo.

https://musescore.com/user/96214813/scores/30134846. This is a five movement piece of music, consisting of 880 bars and 20 minutes of purre, Eb Major, Piano Music. It has an Introduction, A Concerto for Solo Piano (Some parts inspired by Prokofiev (Cadenza), Hummel (Last movement Coda Structure and stuff in the Coda), Beethoven (Some themes and grandness/mightiness/sensationalness), and Mozart (Some parts of the slow movement in the Concerto)), The Concerto ends in a plagal cadence, because the people once thought that the chord progression I-V-IV-I is holy, like the sky, because of the Jump between that compared to an authentic cadence. Enjoy, please, I beg you, and don't kill me for writing minor keyed parts.

@Kvothe Thanks very much for listening, and your analysis! I'm glad you liked how things progressed. And thanks for your compliments on the development. I always sweat blood on developments, they never come to me easily.

Nice piece! Some nice use of a 'rare' dissonance. It is definitely inspiring, your effort, that you took to make a 'beethoven symphony 9' sized orchestral work. Choir, Orchestra...

I am done with my music! https://musescore.com/user/96214813/scores/30134846

I think that the person behind the AI should receive a conduct. This. Anyways, here is my music. It is not quite done yet. I am going back to China, so I can't do it, because my laptop is also getting repaired. Refer to my status update.

This piece is really a masterpiece in my opinion, which achieves both structural rigor and sensuous timbral imagination. It's a marvelous creation of the late, mature Boulez, an antidote to those who view him as an avatar of avant-garde academicism (sorry for the alliteration, I couldn't help it). This is the Boulez who was formed by the thinking of Mallarme and Paul Klee: a real theorist of musical color, whose best music effortlessly fluctuates between delicate restraint and violent explosion. Sur Incises also has a kind of intimacy and sensitivity to resonance: his chosen instrumentation functions as a "deconstruction" of the piano timbre, not in order to invalidate it, but in order to more fully reveal what lies beneath its surface. So there's almost a connection to spectralism. Any other Pierre Boulez fans out there?

Is there a maximum amount of submissions we can make?

sax jazz.mp3

I think I'll stick with harmonic fullness for as of right now. I find that starting with 6ths between my S and T voices allows for an open, broader sound. Which allows the parts to sound big. I've actually noticed that I rarely make edits after writing the initials SATB and transposing for the different instruments. Any edits I make are between the 4 parts and just making those sound as good as possible. First system of the piece I'm working on to show how I write step by step.

Reporting them meant nothing. Their Suno prompt is still in the event and the staff didn't even really offer an explanation for why they did a 180 in a matter of minutes. You have to have principles and actually stand by them or else your principles don't mean ѕhіt. I am against AI-generated music and I will not spend precious, authentic composing hours to participate in anything alongside charlatans.

Because you didn't cheat and no one else is. Just report them and still enter the event, although I do understand why you would withdraw too.

How is that possibly going too far?

Hey @therealAJGS, This one is surely festive and light hearted as we all can hear in the grocery shops and supermarkets this month lol. The ending is quite funny haha. Thx for sharing! Henry

Well I guess you have to be clear with what you wanna achieve, like harmonic, timberal, thematic, rhythmic fullness or whatever fullness haha. I guess if you work this way, you have tp achieve harmonic fullness in the SATB first, which is to allow all the tones of a chord whenever possible. Then when you arrange it to band, the orchestration matters for the timberal fullness. Henry

While don’t like to use too many labels, I would say I personally gravitate towards music that has a rich use of rather coloristic harmony, with a strong feel for natural resonance, strong formal logic and internal coherence, as well as a sense of direction. I think of music often in terms of space: my ideal music opens up spaces and dimensions that the listener may not have foreseen, while remaining colorful and somewhat transparent. My biggest inspirations musically are probably Messiaen, Beethoven, Wagner, Debussy, and Scriabin (not to mention Grisey, Saariaho, and late Boulez). Because of my interest in tonal space and acoustics, I like to utilize geometrical lattices of tonal space, and much of my musical understanding is shaped by them. I think that’s good advice: keep building technique, but also attempt to compose the music you want to compose on the side. I’m excited to undertake this journey of developing my personal voice, thanks for the encouragement! And I do tend to be quite critical of my own compositional attempts: but the great thing about posting for others to evaluate is they’ll provide constructive criticism, and real feedback for improvement. That’s something I can’t do on my own!

Just full 😂 It may have to do with instrumentation, but I work with an instrumental ensemble that plays SATB arrangements.