All Activity

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!

I wrote this in the course of a day almost non-stop, because my vacations end tomorrow. Its quite freely chromatic and quartal and has a lot of space for brooding contemplation. No score for now because the rhythmic spelling is a mess.

This is a charming and very imaginative work. To my ear it's a bit Jazzy with a Gerhwinesque flavor. It was delightful to hear. Mark

That's why we would need the AI detection tool for help to make sure it's not a lie.

They could lie, though.

Sylva Train Runnin' | Official Motion Picture Score from A Fire Within Hello! Over the last calendar year, I have been creating my first short-film called A Fire Within. When completed, the film will follow the tragedy between two friends: Sam and Andy. The story focus on the theme of betrayal as being cordial does not stop greed or jealousy from bubbling within someone. This score is paired with a travel sequence in the film and is my 4th attempt at writing for Big Band Swing. I am very happy with the result and simply wanted to share it! The style was meant to replicate late 40s/ early 50s swing to match the era in which the story takes place. I sampled a little of Miller's "Chattanooga Choo Choo" to help tie into the railroad theme with the main structure being based in verse-chorus with multiple repeats and a key change. If you would like to know more about the score, go to the "About" section on page 4! ________________ Program Note: A Fire Within is an original story written by Mason Kistler detailing betrayal between two friends. Featuring an original soundtrack, soundscape, voice cast and more, this story established itself as the first short-film made solely in the video game Railroader, which was released in December, 2023. Join the orchestra as they bring you in towards this cinematic universe and involve yourself in their soundscape. All aboard as the saxophones open the throttle and the ensemble leaves the station! [DO NOT REPLICATE]

Very eerily expressive, and I feel like the ending has not resolved. This could be a good candidate for a psychological horror perhaps. Look up the game "The Dark Eye". I don't remember the music of that game, but I feel like this music would work in that type of game.

As far as the 3rd part of this poll, If we decide to regulate, I think requiring / encouraging the composer to give some insight about how they composed the piece, and their motivations of the composition should be enough.

I've moved on to Chapter 6 of Persichetti's "20th Century Harmony" which is about secundal chords and clusters. The prompt was "1. Harmonize the following melody for string trio using chords by seconds." Thanks for listening and I'd appreciate any of your comments!

Written for the TCN composer clash 56 titled "night market"sadly, due to the requirement of having the maximum amount oftime being four minutes and on top of that, having the piece ofmusic being worked on only for a week, this could've not beenentered in the competition. Red Mountains in Golden silk explores the western mountain sideof China home to the Uyghur people. The piece explores interesting microtonal inflections in the first part which return at the end ,standard tuning is used when things get fast to preservesimplicity, and to keep everybody's sanity Notes about technique: since this piece does use microtones it should be expected. That estimation can be used instead of a specific fingering. This would work better on bases and cellos, and not violins due to the spacing on the fingerboard. Some of the strumming techniques are used to imitate regional instruments, such those as the dutar I think it's a fairly good idea to learn or to find out the traditional technique while still keeping the actual posture of your normal playing method for the most efficiency There is also some instrument percussion all instruments other than the violin will have. This cello is in bases should be kept where they are. Viola could be put on the lap and played like a drum using both hands. Dead stroking is where you do not rebound and you kind of choke the instrument. It is pretty obvious of what a fingerboard slap is as well where you slap the lower part of the fingerboard. Also, while we are at it, there is also some Pizzicato tremolo in the first violin this should just be repeated unmeasured out of time, plucking as fast as you can.

Haha, yeah, I love Haydn's musical sense of humour.