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A professional composer should be opened to various styles and genres. Although I am primarly a contemporary classical music composer I also write popular pieces, simple music for church services, also jazz. But I always try to maintain high professional standards, even in simple works.

During my studies I sometimes did the sketches but with the experience comes the inner ear skill. Today I can hear the orchestra before I even write notes down. I guess I would be able to be deaf like Beethoven and compose further, trusting my inner ear.

And what makes your music so good compared to masters such as Mozart, Beethoven, Mahler, Prokofiev, Shostakovich, or so many great living composers? You must imagine that you are the best there is, the best there was and the best there ever will be...

I have moved on to Chapter 7 of Persichetti's "20th Century Harmony" which covers polychords. The prompt for the piece was "4. Extend the polychordal passage for piano:" Thanks for listening and I'd appreciate any of your comments!

Hell yeah brother

How about we just ban AI and trust that people are honest, and if people find out that it's AI, they get temporarily banned. This way, people will be afraid to post AI content and not post any.

Thx for your comment. Yeah I know maybe it’s too long for the contemporary environment now, but who cares. I just wrote what the music needed. And I know G flat Major is a hard key to play on strings, it’s a good way to let the piece sound less bright to express Tao.

'Good' and 'popular' are not necessarily the same. Besides, I believe that the evaluation of music is a largely subjective matter. So, people's opinions of music differ. And that is natural. What you might not like, there are others who like. You have no right to impose your opinion as objective truth as far as music is concerned.

And I believe I am not the only one, who doesn't think you are a good composer. Your youtube videos (uploaded several years ago) don't even reach 100 views.

Plenty of mixed feelings about this one. Sure, you can write for strings (although G flat major is a terrible key for strings) but the work does not progress anywhere for a pretty long time. No modulations (barely any chromatic), similar character. This is more like a minimalism style, akin to early Glass or some less expansive John Adams. The transition at 5:35 is refreshing. I am pretty impressed with final movement, it is a piece within a piece. There are some nice and memorable moments but the overall form is probably too large for what it offers. Still, I admire your bravery to compose such a long string sextet.

It sounds simple but I can hardly imagine a perfect live performance. Sounds a bit like Webern though.

Of course not. What new I could have said to your repetitive sketches?

Welcome back Sojar! I must say that your reviews haven't changed at all too. Nothing constructive, all negative and judgemental....

Thanks for the kind words, Sojar :). So, truth be told, I wasn't aiming to be humorous when I was composing it. I just found the meowing sounds fun to work with. I am glad it worked out this way though.

This is the first movement of my Spring Trilogy (March, April and May) from a full album by here presented cellist Bernardo Brizani, who selected four composers to create a full twelve-month cycle of seasons. The score already has all three movements but the recordings are presented on separate videos. This movement begins with slow, murkly chords in strings while cello shows a contrasting, arabesque-like energy. The middle part of the movement is a bit more agile and brighter in sound, while the ending returns to the initial mood. The music has neoromantic features but I do believe it is mostly in my own idiom.

Since your pieces differ a lot from one to another I do believe you are searching for a personal musical language, which is always a good thing. It seems you prefer long, slowpaced layers in strings with some arabesque like moments in winds and percussion.

If this piece is intentionally hilarious, then job well done. I had an amusing time with this.😁 And the music itself fits perfectly.

It is always strange to listen to microtonal music as it sounds out of tune rather than a coherent musical language. And it is used within the traditional d minor with more or less classical melodic and polyphonic technique which is certainly unique. To some extent it reminds me of the third string quartet by Aulis Sallinen.

I don't think we should be Draconian about policing this. I think the policy should be no posting music composed by AI, but I really think it would be a mistake to start policing and interrogating every post and assuming it's AI until proven otherwise. If there are indications that a piece might be AI (e.g. no score provided, telltale signs of Sonus, posted by someone with no prior history on the forum, etc.), then it makes sense to inquire further into it. But demanding proof of authorship from every composition would be a drastic overreaction to an issue that has, as far as I'm aware, only actually cropped up once here so far. I'm against AI compositions on the forum, but I'd rather waste my time once or twice giving useless feedback on an AI composition than chase real people who are posting real compositions off the site.

There is only one thing to say. It is still the same Luderart, no development, no improved skills, nothing new in all these years. You must have a really boring life...

That's right, but they sometimes 'malfunction'. We should use 3 regulation stuff: 1. Detector 2. Info on the music 3. WIP

After many years, I have finally composed a new tango, my fifth so far. It is for double bass and piano, since my daughter Eva is a decent performer and always wanted me to compose for her. The tango has a typical A-B-A form and uses a modern musical language with added dissonances, based on a tonal centre of e but without clear major minor progress. The middle section is in much more clear yet still modal f sharp minor, very melodic and utilizes the high range of the double bass. The composition end with powerful energy and one final snap pizzicato on a low e.

A music for a scene where a group of military helicopters move in the night using the cover of the dark flying low with lights off to avoid enemy detection

Beautiful and solem! Vaguely reminds me of the Schmidt Symphony No.4.

This was a very interesting listen. My brain goes to Bartok because of the folk aspect and rhythms. Also, I keep thinking: just wait until this guy gets into the changing time signatures every so often and then we'll have a feast!