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Hi ...This is for those that might like to Discover, the Perfect Neo-Soul Chord-Progression for beginners . this guys video is Quite informative. NEO SOUL JAZZ.mp3

Subject: Honest Feedback Requested: Lithl - Swarm of Sound (Sonuscore Competition Entry) I would like to hear your honest thoughts on my piece, "Swarm of Sound," without any flattery or sugar-coating. I don't mind harsh criticism at all; in fact, I would find it very helpful. This was submitted to the Sonuscore Competition. (While the music was not originally composed for this contest, the video was created specifically for it, so it differs from the actual original concept.) It was rejected, and I want to know exactly why it failed, where it fell short, and whether it even functions as "music" at all. Please provide your feedback without any compromise . =The Concept= Idea: The piece was built around the imagery of a massive swarm of percussion with strings.While the result bears a slight resemblance to Ligeti's Requiem: II. Kyrie. Molto espressivo, it was created primarily out of curiosity—specifically to see what would happen when stacking polyrhythms in polytempo based on my initial imagery. =Compositional Elements= A. Polyrhythm: Based on the concept of using 12 notes in the strings, I chose a 3:4:7 ratio (resulting in 12 notes per cycle). B. Polytempo: The above polyrhythms will be performed in polytempo.I determined the tempo based on a manually drawn graph. There are 12 sections; each new tempo is added as the previous cycle ends. The tempos are based on integer ratios rather than simple multiples, progressively getting faster. C. 12-Tone Strings: To evoke the "swarm" image, I used all 12 tones. Strings are triggered simultaneously with the polyrhythmic/polytempo timings and held until the next note is played. Furthermore, the strings are layered in octaves. This ensures all 12 tones are constantly sounding to heighten the sense of chaos. The strings are played with tremolo. D. Aleatoric Selection (Dice): To remove personal bias from the note selection, I attempted a randomized system based on simple rules (inspired by John Cage). Specifically, as shown in the video, I created a table using dice to select the notes. This makes it more chaotic and hopefully creates a kind of swarm of sound. =Final Note= I submitted this because the timing coincided with a contest held by Sonuscore, a major strings library developer, but consequently, It was rejected. While the other entries were undoubtedly wonderful, I am left wondering if this rejection proves that I lack talent or that I am merely producing self-indulgent noise that provides no value to the listener. If that is the case, I intend to change my approach immediately upon receiving feedback. Please be blunt. I am not looking for comfort; I am looking for a harsh, honest critique. I would truly appreciate your rigorous feedback. Thank you and sorry for taking up your time.

Dear Aaron, I am also glad to see you here.

Actually, a polychord; Eb Minor against F Major. Can anyone write a piece based on polychords like this? Hint: think counterpoint, but in chords. If no one takes me up on this, I'll do it myself. This Chord... Free Sheet Music by Outis for Piano/Keyboard | Noteflight

Thank you, sincerely, Interlect. This program has been a passion project of mine for the last 3 years. It began with a simple modulator, then transformed slowly to all the features on the site. No, it's not classified information. Since you asked nicely, I can tell you, actually! 😃 So, I've been following Ai and its strength is analysis, while its weakness is physics. Physics, is just not there yet. If you ask Ai to analyze anything, it will give you information that is great to bank off of and further reason with comparable inference. I made this program with Copilot, then Claude, then Perplexity, then Claude Code. Ai kept fabricating my findings with implementation; so if you want to make something like this, do it a day at a time. I didn't use any Altered Chords, but I did create a method that composes with serial intent. Check out the website. It has the ability to export to midi if you want to collaborate with me?

@Vasilis Michael Yes, Yes. It is nice to hear when someone mixes different styles and forms together. I would love to see a binary form using harmonic langauge of listz. That would be interesting. Or cyclic sonata using classical harmonies. the sky is the limit. ;)

My dear friend, thank you very much for your kind words. I composed this sonata in just a few hours over the course of two days. It was a moment of inspiration, and everything came very naturally. I’m truly very happy that you enjoyed it.

Hello my dear friend, First of all, thank you for taking the time to listen to my sonata, and I’m truly happy that you enjoyed it. I thought it might be nice to share with you how I conceive these sonatas in my mind. The truth is that I have blended many different elements into binary form with the intention of creating something personal—my own voice through binary form. Structurally, it is indeed binary, as expected. What I do differently is to approach it with a more Classical sense of transitions and dramatic development. So in essence, my sonatas are fundamentally binary, but with a Classical morphology, featuring clear transitions and the sense of dramaturgy found in the Classical era. Harmonically, I would say it is a mixture of many influences—primarily Classical, with touches of early Romanticism. I absolutely love binary form. Domenico Scarlatti has been an incredible inspiration to me, and I decided that I, too, wanted to create a vast musical diary of binary sonatas—works that truly feel like my own personal musical journal. At the same time, this form encourages me to be bolder, more innovative, and more adventurous compared with other genres. Once again, thank you, my dear friend.

Bumping so people can hear the changed endings and edits.

I'm impressed both by your light touch playing this, and the lack of scratching out on your handwritten copy. If I wrote that way, it would be all chaotic scribbled out former ideas. The interplay between your first and second sections works very well! A very satisfying piece to listen to!

Reverie is an instrumental rock album with some classical and jazz inspiration. Me and derek are 18 years old and wrote this off and on over the course of a little over a year. We would appreciate any feedback! Here is the link: https://youtube.com/playlist?list=PLm46fu2fz3P-KbwFXlgfJNEN3QV4wlHT_&si=DomOQDTKYdKJnohw

This is such nice music! Thanks for sharing 💜 This is such nice music! Thanks for sharing 💜

Hello everyone! How are you? I would like to share my latest composition with you. This time, it is a variation on an old Czech hymn "Vstalť jest této chvíle". I’d really appreciate it if you gave it a listen. Thank you! https://youtu.be/GESxy63t9HE?is=-6dZ675dvwSZbBlv

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