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I do these sorts of instant composition exercises, or did a lot in the past. Find one in a drawer or box...actually, the coda was added later in Noteflight, because I only found one page! The original ending can't have been much.

I really the the transition in the first theme! I really like the rhythm too. It is interesting. The start of the second theme is beautiful. Anyways, very interesting Potpourri.

To quote myself with regard to the program I've been working on, in a conversation with Google Gemini: "...while the processing is very slow even on a fast computer, the results do not any longer sound like an interesting special effect; they sound smooth, clear, rich, and unobtrusive, which is exactly what I was trying to achieve. The program does what I consider a superior job at automated remixing. If one doesn't want to spend hours, days even, remixing a sound file by hand, this is, I think, the way to go, particularly because you're never going to get the mathematical precision of this program if you do remixing the normal way. Given that the processing is now beginning to get very slow, the results have achieved a more than adequate degree of excellence, adding more features would risk breaking the program's workings, and I am low on realistic ideas on how to improve the program, I think at this point, we can consider the project more or less done for now." All the music links in this thread have been updated with the new sound, and here are a few more links to music:

Hello! This one of my pieces with lesser compositional quality... It was a very fun piece to work with so im posting it here too, just for the sake of it. Its for organ or harpsichord, in this midi recording its for organ wich i think fits nicely with the more contrapuntal style of this piece. This is a Fantasia (Back in the renaissance and early baroque era, the genre of the fantasia was just a broad therm for anything improvisational or without a structure) wich i used a renaissance popular tune called "La Bassa Fiamenga", You can find this melody extensively on various pieces of that time, and its one of the lesser known ones. Enjoy! Fantasia sopra la Bassa Fiamenga (2).mp3

Do we have to pay to know the ending this time? 🤑😜

It's Organum tho lol! The only term makes me laugh is "Contemporary Music" lol.

My String SEXtet must make you laugh lol Henry

The 4th in my Emotude series, this one explores a more minor and sombre landscape. Hope to soothe your Spring spirits. Thanks!

Yes! Its actually not at all unstylistic, on smaller renaissance bands like Consorts and Alta Capella, dynamics where used. The problem is that i don't know how to use finale very well, wich is the software i use to make it, so tweaking the dynamics the way i would want would take a lot of effort, so its best to keep it bland.

Thank you!

Sextuplets (16th note triplets) JOINTS (head joint / foot joint / etc) pp Tutti

G String (orchestra, guitar, and ukulele) Nut (guitar and ukulele) Ogranum (organ piece with one pedal note held a very long time) Scat (A form of jazz singing that uses improvised nonsense syllables to create a melody... NOT animal poop)

😯 Wow... This piece really transported me there. Therefore an amazing submission, outstanding work. You seem like you may be a string player with your preference on hand position, and your pfp, but I still must say, this is some very difficult music to play. If I were to find out that a chamber group was going to play this, my first question no matter the group, would be if they could pull it off. But if I trusted the group, I would NEED to hear this.

Very nice! Reminds me of Mendelssohn.

I see. Anyway, I’m going through the pieces as they’re uploaded (there’s only one so far). But I’d prefer to send the results at the end, so I can compare them with one another.

I made one more improvement to the program, and I've also learned to perfect the settings more or less. The pieces in the above post now reflect this improvement, having been replaced with updated sound files, as do the ones in this post.

The competition is open to nationals of all countries. It aims to enrich the symphonic repertoire, particularly for youth ensembles, while discovering new talents and fostering exchanges with experienced composers. It also seeks to draw attention to the importance of water as a vital and universal resource. The theme of this edition is “Water in All Its Forms”. There are two categories: one for candidates under 30 years of age (born after 31 March 1997), with works lasting 6 to 8 minutes, and one for candidates aged 30 and over (born before 31 March 1997), with works lasting 8 to 10 minutes. The selection process will take place in three rounds. The first round requires a sketch of the score (with audio recording); the second round requires a complete score (with audio recording); and in the final round, the selected scores will be performed by a European youth symphony orchestra. Prizes totalling €20,500. Seven prizes will be awarded: in each category, three prizes (€5,000, €3,000 and €2,000). In addition, an Audience Award (“Coup de cœur”) of €500, common to both categories, will be given. The registration fee is €50. Entries must be submitted by midnight (CET) on 31 August 2026. Candidates are invited to complete the registration form (https://forms.gle/Vn9XSMQcN4VoDnV59). Afterwards, a link will be sent for uploading the required documents. For more information and the complete rules, please visit: www.eurochestries.org Email: composition@eurochestries.org

I am now on version 23 of my psychoacoustic remixer. Here is a screenshot plus three links to music it has modified.

"Do you perform your music?" It depends. If it's written for bass or guitar, usually--definitely if the rest of the band likes it. A lot of my work is composed in collaboration with performers of other instruments, so I'm not always writing things for ME to perform or even anyone, but I'm often writing for someone to perform. "Do you play or try out your musical ideas on an instrument while composing? Or do you just use software simulations for that?" I usually come up with the initial ideas on a real instrument. If I consider the proficiencies of an intended performer I know that's more skilled than me, or if I decide that this piece won't be intended for public performance, it's off to the software packages with it (although I write everything down in MuseScore, the works that are intended for the stage don't end their life there). "Does that sufficiently connect you to the performance practices of actual musicians?" This is the most interesting question out of the bunch, in my opinion, and I honestly feel like the answer is no. Fully digital editions of most music just feels somewhat hollow or lacking, although I believe that to be a sort of bias by association. Electronic music and videogame soundtracks, though often partially or entirely programmed into a computer to play, don't trigger the same response anymore. It honestly makes branching into the genres feel attractive on the surface, considering I'm often tired of dealing with other people...

I started on the trombone about 15 years ago (sorry, I'm a little older than someone that I typically call young, but I was looking for a community to engage with one of my healthier and more interesting hobbies). 3 or 4 years after that, I picked up the electric bass (I always wanted to get a contrabass to transfer my skills and diversify the contexts I can play in, but the cost is very high), and this has become my main instrument. Over the next 5 or so years after that, I picked up the guitar and most of the brass family to various degrees of competence. I have a flute I've never played lol. I really want to sharpen my skills in composition and piano performance at this point (without sacrificing my time with the bass--it's the only instrument that's made me any money haha).

I'd been interested in being involved with music since a very young age (longer than I can remember), but I didn't pick up my first instrument until I was about 11. I didn't write my first song until I was about 14. Shortly after that, however, a classmate told me he was writing a symphony for a class project (it was more of a tone poem, but I'm being pedantic rather than critical of the quality of his work), and he challenged me to write a better one than him. Not having much experience writing for strings or dealing with larger works, mine was pretty awful in comparison, but I fell in love with writing music after having sunk almost 6 months into this project.

Just looking for general feedback on a less adventurous work before I dive into a more involved work. I feel like advice on the use of harmony and motifs would improve most of my work, and I could develop those skills by learning to improve some of my existing work. Waltz in Eb.mp3

I was wrong. There was room to improve, plenty of room, and I have done just that. Give this remix a listen:

Version 17 has arrived. I completely changed the logic for how panning constellations decide to orient themselves, using a highly complex and original idea that I came up with, and the result is very lucid and pleasing. I think this is the final stage of the program, actually, as I am finally quite happy with the sound. Below is a short sample, I will be adding more to this topic as I continue the rather slow and tedious process of reuploading all my music.