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Cool bass beats along with a fun motif! Gets a little repetitive, but maybe this can be used for a boss fight. One thing you will notice with AI tunes is that the harmony can get quite stale. Even with the interval key change, this basically is the same harmony for the full 1:40.

Vonias Wonderful composition, so lovely and spiritual,and the vocal choir is Amazing, the sort of sound you hear in Big Films Iv never heard any thing like this ...thankyou ,and i wish you every success in life.

The second part of the fugue (and the entire fugue at all) is now available on this separate thread. I hope, you'll enjoy it and awaiting comments/reviews.

Artificial Intelligence Composed Symphony. Artificial Intelligence Composed Symphony.mp3

Here now the fugue in its entirety with a YouTube-video and the complete score!

Hello my fellow musicians, now I present the second half of the fugue with the „special feature“. Today is the 24th of February and it is now exactly four years ago since the Russian invasion in Ukraine. As I composed the fugue between February and May 2022, I decided - after I had accomplished the first half - to integrate the Ukrainian national anthem as further theme in the second half of the fugue – as a dedication to those which suffer from that terrible war, or more worse, have even lost their lives. For continuing the „analytic comments“, we cannot speak from now on of „development sections“ and „episodes“ since the fugue is now structured by the verses of the anthem and interludes between them: First Verse of the Anthem (mm. 51b – 43a). The first verse in B flat minor in the soprano is „accompanied“ by three subject entries: • B flat minor, inverted, bass (mm. 51b) • F minor, tenor (mm. 55b) • D flat major, diminished, alto (mm. 58b) Interlude (mm. 60 - 66). The interlude, dominated by a sequential motif which appears three times in normal form and three time in inversion. The fugue subject appears once in normal and once in the diminished form: • D flat major, bass (mm. 60b) • E flat minor, diminished, bass (mm. 64b) Second Verse of the Anthem (mm. 67 – 74). Similarly, the second verse, again in B flat minor in the soprano has tree contrasting subject entries, where the last, diminished one could be counted to the following interlude, too: • F minor, tenor (mm. 67) • B flat minor, bass (mm. 71) • D flat major, diminished, tenor (mm. 74) Interlude (mm. 75 - 82a). This interlude consists of four sequences, each featuring an entry of the diminished subject, which perform the modulation from the „sad“ keys with flat key signatures used so far (for example E flat minor) to the „triumphant“ keys with sharp key signatures (finally to F sharp major): • D flat major, diminished, tenor (mm. 74) • A flat major, diminished, bass (mm.76) • B major, diminished, soprano (mm. 78) • F sharp major, diminished, alto (mm. 80) Third Verse of the Anthem (mm. 82b – 90). The anthem repeats the last half bar of the second verse and is now in the third verse finally in the brightest major key in F sharp major! The remaining subject entries of the fugue are as follows: • B minor, inverted, bass (mm. 82b) • F sharp minor, diminished, tenor (mm. 85b) • A major, diminished, tenor (mm. 86c) • F sharp major, „tail only“, bass (mm. 89) I hope, you'll enjoy it. Wieland Here is the link to the previous thread with the first part of the fugue:

Many thanks Mark for the kind words! As to playability, I've sent this piece to a virtuoso pianist: so I guess we'll find out! If not, I can always make changes. I know I can't play it at tempo!

I also very much enjoyed your work here with its introspective mood. I do have a question though; measure 28 - can this measure and others be played up to tempo? It appears to require great dexterity. Mark

full piece thread:

Well, yes, trills and tremolos sound rather bad in MuseScore Studio when output with the default "MS Basic" MIDI playback, but I don't like the custom MuseSounds engine either as it's VERY hard to balance dynamically and it's still rather unpolished in some fields where MS Basic is ironically superior. I'd prefer to use VSTs if not the fact using them in MuseScore is even harder than both of the previous options so I have to export the MIDI and use something like FL Studio or REAPER to fix the simple problem. VSTs still may struggle with trills and tremolos though 😉 In the end I just thought MS Basic would be fine this time. If you want I can use a VST to re-export though, no problem on that.

Huh, those two different scales together remain dissonant, even after listening several times. Interestingly, while you separated the two voices clearly, for me the base clarinet „shadows“ the lydian fourth in the soprano, so that its characteristic is not so clearly perceptible. I was just a bit confused whether the score/recording is transposing or not. I think, the score should be read „as is“ since the scales (B lydian vs. G aeolian) are explicitly mentioned in the exercise. But whenever I listen to the recording, I think the clarinets are playing a whole note lower, thus are transposing ... However, very interesting exercise – while I would prefer a slightly more harmonic approach in my own compositions.

A humorous piece that wasn't too short, which I really enjoyed. I could easily imagine a solo violist standing on stage and playing the piece with all the different articulations that a viola can offer! My only criticism concerns—as @Luis Hernández already mentioned—the trills and tremolos. While notation software usually delivers acceptable results for articulations such as staccatos, accents, etc., the automatic unfolding of trills and—even worse—tremolos is usually unusable. To get around this problem, you could try “writing them out” (for this you need a second version of the score, intended only for the MP3 output). I always do this when I use trills and tremolos. In this case, you can “fine-tune” the dynamics of these trills/tremolos, which significantly increases the realism. Thank you for your contribution and welcome to the forum!

@ferrum.wav thank you for your kind feedback and anaylsis! "Fragmented ideas" describe exactly my composing style and process!😄 I am happy you enjoyed the piece and the ideas come through I intentionally left out the musical expressions and markings out of the score (half of it is me being lazy and the other half is that I think music should be freely interpreted by the player) but I do agree I should add the musical markings to be clear. Maybe in the future if I have enough songs to publish a book. That is my dream 🙂

Mother and Son 12-9-25.pdfHi all, Once again I resurrected an old work which needed a dusting off and a new look. It's called Mother and Son ... I describe the playful and sentimental interactions of a Mother and child as they play/interact in the park. Mark

Hi, I really don't quite understand the theory underlying the composition ... (although as a retired professor of social work, clinician, and school administrator ... retired); if you have any questions about a career in social work feel please to ask me. Now about the music ... my only observation is the pairing of the English Horn with the French Horn. I think matching dynamics would be a bit difficult since the timbre and projection of the instruments are quite different especially in the lower and upper registers. The work is quite pleasant to listen to .... and flows quite nicely. Mark

A very beautiful piece that sounds intimate and effective. It sounds like it's being played live, doesn't it?

I don't know why, but it sounds neoclassical to me. I imagine this piece in an 18th-century drawing room. I think it has an intimate, somewhat playful feel to it. Good work on these exercises.

Thanks for everyone's feedback. I'll review the articulations with your suggestions in mind. Mark

It an interesting work ... I didn't find the style repetitive ..... How would you describe your intent here? What are you attempting to accomplish/share with this work? Mark

Thanks! I used a site called Cantamus.

hello finally finished this piece, just gonna quote some info from the scoring progress thread (which you can find below) ost (starts at 29:50, lyrics appear faintly at 30:09): yknow, i enjoy composing on a small ensemble like this one or daunting steps. it's the right amount of options for color, but not too overwhelming like an orchestra voicebank/singer: Kumi (https://cubialpha.wixsite.com/kumivoice) analysis if you wanna read it: -------------------------------------------------------- INTRODUCTION. (b. 1-121) > introduces the themes, containing three sections. we'll call the three intro sections 1', 2' and 3'. 1' (b. 1-44) and 3' (b. 97-121) sections are inherently the same. the 2' section (b. 45-96) is a variation/development of a motif from section 1' (the first three notes). i call it the "Look to the sky" motif, very important, appears everywhere. the oboe part of the 3rd section (b. 103) introduces the B section as a counterpoint. b. 88 piano introduces the first part of the real main theme of the piece, and b.103 oboe counter point is the second part, which appears in the B section later. basically, the whole piece is a journey to combining these parts together, just like in the OST. Furthermore, 1' and 3' are just rhythmically augmented versions of the first part (quarter notes instead of eights, added triplets), while 2' is created from the motif and exists as its own theme. TRANSITION (b. 122-136), variation of 1'. ======================================= A. (b. 137-204) > pretty much the combination of the intro's three sections. vocal entrance (b. 151). section 2' are thoroughly woven and augmented between the vocal melodies. sax part at b. 180 is the B section, again, as a counter point. the vocal part sings a lot of the motif's variation. the lyrics are repetitions of Look to the sky Don't contain me I'm not here TRANSITION (b. 205-219), same as the previous one, different instrumentation B. (b. 221-278) > b.221 is a slight variation from section 2' (b.63). pizzicatos from b. 227 onward is the motif. oboe at b.229 restates the the main theme's first part while the left hand piano keeps the same rhythm from b.221 throughout. b.232 is the same counter point as previously, albeit variated. b.237 strings and celesta form an ostinato from the main motif, leading up to the vocal entrance. on b. 238 onwards, the vocal sings the main theme with slight variation (repetition of "sky" and "me." the rest before "sky" was done to make it singable). viola scatters the motif everywhere while woodwinds variate the main theme's second part as counter point. from b. 247, a new rhythm is introduced on piano left hand, sax, and viola, depicting troubling wave-like upward motions. finally, the vocal introduces the second part of the main theme alongside a new stanza. In the dark I am free Out to sea I'm just drifting here floating the instruments try to restate the newly sung part (b.262) but immediately get interrupted on b.266 by the return of 2'. the section builds up into: TRANSITION (b. 280-292), another variation of 1', more epic. A*. (b. 293-347) > instead of the strings, the piano grandly introduces the section. the rest play out just like the previous A with different instrumentation. variation of the accompaniment, most prominently with the active celesta section and the climax at b.329, which is taken from b.180 onward. The counterpoint from that section is now sung by the vocal with a new stanza, which is another piece of the second part of the main theme: from the sky x to y distant light just keeps calling me from the sky B*. (b. 348-398) > b.221-246 is now in a major mode and it is lighter. some figures are developed here as well (intro section 2' makes an appearance on b.376). this is a step forward toward piecing the main theme together. however, this quickly gets interrupted on b.380, returning to the original texture. it has the same melody but with stanza from the previous climax (b.329). along with that, one final important line is added: let me fly! this line marks a climax, which is teased in the subsequent bars (viola b.375, sax b.376). the climax also comes with an ascending leitmotif (b.395, sax, which is just the Look to the sky motif in an upward arpeggiated line) that signifies the sung line, let me fly! this then transitions into the return of intro section 2'. however, instead of restating b.55 on b.409, the piece finally states the full main theme (b.408-428), as it is similar to the original song. this leads to the penultimate climax (b.441) of the entire piece. one that will then transition into the final section. FINALE. (b. 450-521) > offbeat celesta ostinatos and strings harmonics begin the section. piano introduces the familiar theme as the preceding saxophone signals the vocal entrance. the vocal part combines the two stanza. let me fly! repeats in the vocal, finding a resolution as the whole ensemble rises until the climax on b. 486, finally resolving with a simple plagal progression. with the main motif ostinatos, the piece calms then moves to reiterate the intro section 1'. the dissonant on b.514 (taken from b.17) slides into a D maj 9 chord while the oboe resolves the main theme, ending the piece. -------------------------------------------------------- i'll definitely make a youtube score reading video of this. hope you all enjoy !!

MP3 Play / pause LOB 43 Corpus omne perseverare 0:58 3:18 volume > next menu LOB 43 Corpus omne perseverare > next That's awesome. What was the program you used for the voices?

Good afternoon! I already wrote 50 or 60 marches for piano and this is my 3rd or 4th one for some type of ensemble and the 1st one actually for wind band. Feedback much appreciated. The score is in Russian and I'm too lazy to translate it, but here's the instrumentation: Piccolo; 2 flutes; 3 clarinets in B-flat; Bass clarinet in B-flat; 2 alto saxophones; Tenor saxophone; Baritone saxophone; 3 trumpets in B-flat; Flugelhorn; 4 ["French"] horns; 2 trombones; Bass trombone; Euphonium; Tuba; Timpani[1]; Glockenspiel; Hand cymbals; [Other] Percussion[2]. [1.] The timpani are tuned Ab, Eb, C, Bb for I1 through B2 and then Db, Bb, Ab, Eb, but after I3 they switch back to Ab, Eb, C, Bb. [2.] The percussion consists of triangle, snare drum, tambourine and bass drum. The score is condensed as follows: Piccolo; 2 flutes; Clarinets in B-flat 1 and 2; Clarinet in B-flat 3; Bass clarinet in B-flat; 2 alto saxophones; Tenor and baritone saxophone; 2 trumpets in B-flat; Trumpet in B-flat 3 and Flugelhorn; ["French"] horns 1 and 3; ["French"] horns 2 and 4; 2 trombones; Bass trombone; Euphonium; Tuba; Timpani Glockenspiel; Hand cymbals; Other percussion.

this is a really nice and short piece !! despite how simple it is, i find it fascinating how you manage to use all of the fragmented ideas effectively. for example, how you use the cadence on b15-16 and the subsequent usages of which throughout for the ending and just leave it hanging at the V, it really gives you that floating feeling. add that with the gentle arpeggio, harmonies, and melodies and you've successfully painted a tranquil feeling on the mind if i could give feedback, i'd probably give ones for the score. maybe it could be given more information such as the tempo, slurs, dynamic, and expression markings other than that, it's a great piece. i thoroughly enjoyed listening to it. thanks for sharing !!!!!!