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My Brotha, Henry A very talented 16yo you must have been, in writing this work. There were so many musical ideas I couldn't accomplish/think of at that age, since I still remember trying to write my sonata in the style of Mozart. Perhaps, this will be inspiration for me to revisit and revise a few of my old melodies. As for your work, the main melody is quite memorable, and I especially enjoyed the F major variation of it. My only main concern is the incomplete fugue; I think the subject you have has a lot of potential, do consider extending it into a fully fledged fugal variation, I'm sure it will sound superb! Another thing I've noticed in this work is that it showcases quite a few modern touches, including the quick switch between neopolitan and dominant harmonies + occasional pentatonicism.

I messed up my FL studio and now it shows every song in 6/8 even though I usually use 4/4 and when I try to change it I press accept and it does nothing. It's simple. but annoying. if you know how to fix this, please tell me how in the replies

Very cool arrangement! Do you happen to have the score? Something's a bit subpar in terms of sound, not sure if it's the brass? I think the strings sound pretty nice and the tutti sections sound very nice as well, but at the very beginning it sounded a bit, yeah, subpar in comparison. Perhaps the passages with less instruments are to blame as they are "more revealling". In any case and since I do not know your background or your past works, what are these new things you tried? Are they related more to sound production? Or they're orchestration techniques you learnt? Just out of curiosity. Kind regards, Daniel.

Just when I posted this ⬇️ I've come to read about the substance use/abuse rule. I thereby accept my punishment, m'lord. 🗿

Not sure if it serves, but the thing that probably made me not feel that much uneasy was that there was a constant bass sound that I even perceive as comfortable at times. Maybe some more movement in the bass, subtle but noticeable, would help. Or even some absence of bass at times or a shift in its timbre.. At the end of the day, these are your and only your choices. Maybe this is VERY uncanny for some other listener, who knows (I certainly do not). Kind regards!

Hi Churchcantor, or Robert, however you prefer 😁. It seems that this post went through in silence. Let's fix that. I listened to the first movement. While I enjoy the repetition of some ryhtmic patterns, I think it's too contrasting in terms of material (or it appears so at first) and not very well-founded structurally. At the same time it sounds plain: not a single dynamic marking (maybe I missed some?), almost constant tutti except from some sections where all in a sudden virtuoso-fast passages appear and also a pizz. ending that does not convince me at all. But I just could be wrong, I listened to it twice and more often than not pieces require a bit more to be appreciated, specially if they're ones like you submitted. Some other times I just don't like them, though. It's perhaps harmonically daring or inconsistent in that regard too: a more in-depth analysis would reveal one or the other, or both, since practically everything is valid this days and I'm sure you could justify many of the things I may have heard as "wrong" or "weird" or "misplaced", etc. At the end of the day, almost all that matters is that you yourself feel that the work is decent enough. Several years have passed since 2009 so if you are not fully convinced now, maybe these points I brought here are worth noting (and maybe at this point, you know the majority): • Even if you didn't change a note, a better balance of the dynamics of each instrument would greatly help. • The sudden contrasting sections do not reinforce the stability/coherence of the movement, in my humble opinion they rather weaken it. M17 & M18 appearing in the middle of the syncopated section, so dense and all on a sudden, is one example of such a contrasting section. In my opinion, even if you want an abrupt transition, I think it could be stated better (again via dynamics, but also via articulation or even slight rhythm changes, there are many ways to accomplish this better) both in the "before" measures and in the "after" measures. • I can see the movement can be technically demanding at times too. Quadruple stops... Assuming these ones in the score are doable specifically, are you completely sure you need them to be quadruple? After all, it's not a solo, maybe you can distribute the voices in order to avoid these maybe problematic stops. I won't comment much on the score per se, since I am well aware of the poor layout results noteflight default usually delivers. Not to mention the default midi sounds it uses. Wish you could upload a better audio here, it would be neat... I'm myself not a fan of it, but perhaps porting your sheet music to Musescore 4 is not a bad idea. It's 7 AM here and I really need to sleep, but I am eager to listen to the rest of your work...! Thank you for submitting it here and once again, I am sorry the post got a bit lost. Usually posts with material to be analysed are replied sooner or later... Kind regards, Daniel.

Alright, fixed the dark mode issue. Counterfact in this case falls into the "other" category where it's all else but redefining a set of chords into a new song, creatively. I simply forged one of my songs with a new title to approach a different context that also resonates emotionally with me. I was inspired by, Kim Cascones, "Recontextualizing Ambient Music," vying for a more convincing sound structure, if not by the pounding of the anvil that is ostensive in the music: Recontextualizing Ambient Music in Csound That's good that it doesn't bother your ears. I had it professionally mastered, before I shared. I have the unmastered version somewhere if that's your thing? Subtle horror is tough. I thought I had got it, it's not so much unexciting, but uncanny, psychological, maybe personal, but the subtlety in horror is tough to pull off without explaining everything. Maybe you have a few pointers? Anyway, thank you for the review. It spurs me on to the next one.

Hi Vonias. First of all: Do you use that formatted text intentionally? It's so difficult to read in dark mode though it's hardly an issue cause I may be the only one using it. Still, it's strange I don't see any filler in the usual mode. Anyway, the soundscape you created is indeed eerie, a bit repetitive but that's —more often than not— a definining aspect of many ambient music. I don't dislike it, and now that I am done with its first listening I can almost guarantee that I got used to it. It's not very tense, I think I cannot find any better term other than "eerie", really. Not even the high frequencies at the very beginning bother my ears. I like the —perhaps tiny— detail of music dying itself and not getting choped with a stop button. Finally, and reviewing my own brief commentarry, I am not certain if my notes could just apply to abortion 🗿. But I can get what you mean. I don't get what you mean by "counterfact" though. Kind regards, Daniel–Ø.

Seems that this time I got aligned with the majority here 🗿. Goooooood, veeeeerrrry gooooooooooooood. We are close to 20 people voting. C'mon guys!

Cool video, but I prefer your Waltz in F minor 🗿 Cheers! 😁

"Abortion," is a counterfact from my symphony, "Ocean Shell." The 3rd movement is recontextualized under the topic of abortion, and the title comes with its own disclaimer. The song itself is a bit of a revolving door that works well in conversation. It depicts the images that he had seen from a civilization with too many abortions. The effect is subtle psychological horror. You can hear the unerring piano striking a nerve, eventually leading to catharsis release at the end of the song. Something, resembling a human emerging from the soundscape, screeching with agony. Yet, the music is presented in a matter of fact manner, like this is normal. Listener discretion is advised? In America, we share our fears. Feel free to remix. In practice, when someone says they don't like the song, "Abortion," I tell them I don't like abortion either. You either love it or hate it. With that said, the advocacy is there in hopes that anyone can make educated decisions about the process of hard topics, in the news especially. The track was developed from the saxophone, piano and ambience added after the original sound. The saxophone is slowed using Paul's Stretch to convey the "orchestra" hidden in the horn. Altissimo peaks at a hotpoint in the sound, seering white hot spewing lashing out with ocean waves in consequence after the "blissimo." The piano really throttles throughout the song unapologetically. If you never felt guilty, you may now. Anger is accepted form of currency to the imagination in the symphony. The ambient instrument was developed by, Kim Cascone, and he was kind enough to be available for review, when he's not trapped in covert. The form is freeform, but if the altissimo were a dividing factor, a monument to the piece, then it is a diptych, where fractal frames embolden the images experienced. Pretty much anything you could say about abortion is true for the song, too. 😕 Have fun!

Sounds like you have a strong grasp on aTonal music! It's not repulsive as experimental atonal music, but it conveys well the message of urgency and importance to the audience. Since you have that down, I recommend exploring more compositional techniques; personally, I don't like long intros, and drawn out sections. The shape of the overall structure doesn't need to be so square. I love the dramatic qualities of the work! If you need more atonal inspiration, check out my website: www.atonalfugue.com Here, you will find that the numbers apply to just about anything. I wish you well on your total serialism journey, and I'm sure the birds do as well. Thank you!

String quartet Halloween piece, for me, it is. Let us hope there will be lots of entries.

I've begun a challenge for myself, creating Halloween music for the month of October. So far, I have "The Raven," "Headless Horseman (Salvos)," "Cthulu," and "Bessy." Bessy, is the Lochness Monster based in Ireland, or England, I believe. Scores are also attached. The process is pretty simple. I store my numbers in the website, then work the music by more instinct and storytelling; it's so difficult to describe the joy of atonal music, so I hope the website inspires you: Projects - David Harper The website is a multitool, that manipulates your set in a linear fashion creating arrays very close to the original that you input. Further inspiration may be gathered by the in depth report generator. Physics terms are more complex, while the basics are present. Furthermore, I created one method for composing atonal fugues, and the website will generate a fugue based on that method; atonal fugues, are tough, so have at it! Other than that, the performances are based on sounds generated by, Garritan. Also, the works were instrumentalized by AI over at Suno.com! If you haven't checked it out, now is the time after Suno Studio was released giving midi access to your creations. Copyright with AI is not so complicated: Copyright in, copyright out; also Suno has your back too with protection. Anyway, anyway, the purpose of Copyright is to encourage creativity; so don't hold back on the numbers input on the website, I provided. The fractal viewer allows you to see the physical effect each note plays upon the other to make you more accurate in your composition. About the only thing the website doesn't do, is serve coffee; but you have amazing taste, already, why would you need a website?! Carrying on, each composition is Halloween themed of monster favorites in America. I'll write music about some of the folklore in the area too! Cthulu for example, is very popular in a small town I lived. The next one will be the Chuchacabra, and Big Foot later. Some horrors include zombies in the small city I live in, and everyone is excited to tell their horror story too. One that comes close is to the area is the Bell Witch, told be the amazing William Turner: Historian William Turner weaves tale of Bell Witch Thanksgiving is all about the Crucible, Canterbury Tales, so I'll see how long I can keep this thing going into November. The Raven, a macabre march blending Gothic, Romantic, with contemporary Wind Ensemble. The polarity of aTonal music to tonal, is like a crunchy smore with gooey insides. I had no idea the complex ration facing when composing in this style, so I held on until everything around me changed. The two styles are oil and water, not to mention that they are very kinetic in response to sound creating a mission impossible for the composer sometimes. My friend wanted Hisashi's music in the song, so if it reminds you of the films, Kiki's Delivery Service, you are not far off from accuracy. Cascading thirds triumph in the trumpets, also creating the 'D' section of the form, ABACADABA. Most people get it, but just say the magic word, and all your dreams come true. The nuance leaves the composer big headed, and too clever for his own good. Salvos, is a complex machine of musical systems to create the effect of omni-movement of a horseman that managed to ride around with a jackolantern on his head. Can you imagine the coordination; he must be a musician, too! The song is very festive, set at the gross tempo of 144, to give that ghoulish quality to it. It's the same tempo as Michael Jackson's, "Thriller." Though, the song is tonal, the source originates in aTonal as loosely interpretted by the AI. I went with it along with the instrumentation, that summates a fast gallop in a dark soundscape. I think AI interprets most serial music as diminished, oddly enough. It's easier to measure the major seconds as consonent, and that resembles more serialism music to me. Lochness, is a lonely pianoscape of sound. I thought it reflected how lonely Bessy is as a monster of the lake. Serialism maintained better in this version, it sounds like a hybrid. It's hard to escape that aTonal melody, so I allowed AI to interpret the melody as a "reharmonization." The spindle catches on well the isolated sounds, melody, and creates a haunting beauty. This melody was made by the fugue generator in my website. It demonstrates all styles of fugue essentially - Stretto, augmentation, diminution, and appoggiatura. Cthulu, is aTonal. I was strict with the instrumentalization process. I imagine Cthulu to make ample use of ostinato creating a normalcy, only until you find the 'C' a completely different color by the end of the song. huehuehue. Only an octopus would think of that. The chords are thick and lend from Coltrane's "Sheets of Sound." I had to double the bass part to make the melody clear for AI, and I loved the organ quality created. Enjoy! fractal-fugue (1).mid

"Journey to the Island" from Jurassic Park condensed score video:

I will fix the parellels Yes and no lol - I liked the bass doing that contrasting figure (rhythmic wise) with the half note and qtr note, and I liked the 5ths, so I just kept it in. It's not super bad, could definitely be smoother, so I'll edit that spot. Thanks! Thanks for all your feedback

Thank you! Cantus articus is my personal favourite, i shall take all of this into consideration!

That totally makes sense. Like I said, abruptness isn't a bad thing, but aurally justified abruptness often feels more satisfying, and I think that's more the vibe you're going for with this; that is to say, I don't think you're going for something intentionally incoherent. As another example (also about birds lol) here's the first movement of Cantus Arcticus: listen as more and more weird little figures gets added to this texture, some of them very out of character, but then you sort of... get used to it. Rautavaara takes the time to make you feel like those additions are worth it, you know? (Timestamped): https://youtu.be/TO3YRZWLvQo?t=60

@Monarcheon Hey whoah! Thank you for your feedback! I'll definitely check that piece! As for the abrupt register changes: its kinda of a musical effect, since this piece is written after the conversation a duck and a bird had on my window when i was playing piano, so i wanted to represent the odd yet amusing change in sounds and flow between the two animals

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Interesting work! It definitely borders on atonal, with some definite centricity on A that keeps it from going too far out of bounds. In fact, you've got an interesting arc here, with two (014) trichords at the beginning and end being sort of "built" off the tonic and dominant of A, even cooler because the "0" in both cases isn't the same note. It's a cool idea, something that George Walker probably would have been fond of. If there's one thing I'd point out is that a lot of the register and dynamic jumps feel a little abrupt. Now, don't get me wrong, I know that happens all the time in more avant-garde music (e.g., Crumb), but—I don't know—it feels like those have a little more pomp and circumstance to them because of the way they grow and decay. For that reason, I'd suggest playing with rhythm a lot more; giving yourself the space to do some really interesting rhythmic interplay will immerse your listener in the intervallic web you want to make instead of necessarily always having to be explicit about it with discrete musical cells of vertical harmonies and lines. The last of Saariaho's Papillons is a good example. Lots of semitones in there but it oscillates so much you just sort of recognize it implicitly and it flows between different playing styles (timestamped): Nitpicks: 1. You have it listed as Horn in F; make sure your score actually is in F (it's concert right now). 2. The fun thing about truly atonal music is that the spelling doesn't matter a ton; it's different here because you've got a pseudo-tonal thing going on, but even still, I don't think there's a need to have unnecessarily uncommon spellings like the E# in the last three measures. 3. Keep clef changes where the notes are played, not the beginning of the bar, e.g., mm. 13, 15. 4. The semitone addition in mm. 13–14 is a cool muddy echo, but I kind of want more out of it; maybe go even further into the depths?

Yeah, cadenzas are fun.