https://www.veed.io/view/1666613d-b7f2-40da-8444-d9c0ecb3484b?panel=share

Just for fun, extracted from a mixed ensemble choral piece. Need to finish articulating it.

Post what it's extracted FROM, Alexandre Dumb (Esel will do).

Three Roads Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

The song begins with an atonal fugue in two voices.  The atonal fugue develops to another fugue, in 8 voices.

Complexity becomes no foreshadow in storytelling, as it is overtly complex from the start value.  It's unnecessary pushing the boundaries of baroque music, peering through the universe in a serial kaleidoscope that has no mercy for mankind, the horrors it shares; think Lovecraft's, "Fungi of Yugguth."  It'll make you want to vomit, it'll make you want to die, but all this is typical of seeing a Seraphim at the beach, so to speak.

Behold the Seraphim, as you feast your ears on the deeper mystery of the universe.  As she plays in the beach, she gazes down as the drops of water fall back to the ocean.

Anyway, the amount of effort in going into this piece was unclocked.  Judging by the pdf, you can see instrument 3 had the most work done.  In this instrument, contains the information for the atonal fugue(s).  I want to thank, Kim Cascone, for making his instruments available:

Recontextualizing Ambient Music in Csound

"Seraphim," is a reaction to the essay.  When you place traditional music, ANY traditional song, on top of ambient music, you get a wonderful parallax effect.  I think the reality of the song is that it achieves what artists of the Renaissance couldn't achieve, which is the parallax.  I don't think the concept existed until, Physics, was discovered by Isaac Newton.

The beginning set for the opening fugue is, [0,4,6,11].  My PC did not catch fire writing this song, though if I were to compose it on my phone, rendering it would be a nightmare.

What I hope to achieve in, "Seraphim," is promoting my website, www.atonalfugue.net if you want to check it out; no feedback needed, you can just enjoy it!

 

"Neo-Tokyo," describes the, Hayabusa Feather, coming home after gathering, Asteroid.  As the space vessel operates, large asteroids clash in the background.  I think there are at least 7 fugues represented in the piece.  Some from, "Seraphim," some from Symphony No.2, two more on general texture, 1 final in the background, constant.

Feel free to make 'stamps,' or short samples, to use for your work.  If you wait until the fugue ends, make a sample, you have a 1 minute sample.  30 seconds of that could be used for anime, AI, or entertaining yourself.  

Complexity Magnitude, is the most complex fugue I could come up with, and it ended up surprisingly simple.  Easily underestimated, easily understood, I wrote a tutorial:

Atonal Fugue Writing Tutorial

Other than that, feel free to alliterate from your favorite media - and keep the good times rolling.

Splendid night, Space Cowboy!

Complexity Magnitude_Harper.mid

What little I could say about the program notes, I could say more about the technical aspect of the Song.  "Himeji," was only a town over from Hiroshima, and if I'd attack the castle, always smiling, I'd imagine I'd use music, today.  They would hear us coming.  It's often rude to talk about such things, but bear with me the track was once called, "Footprints in the Snow," and it lacked the melodious quality added to help tone things down a bit.

With that out of the way, the castle has a moat.  To invade a castle with a moat, one could do it at broad daylight when the gate is open or we could go with what artificial intelligence suggests:

In the hush before dawn, when the world still holds its breath, a lone tone rises —
a spirit‑thread drawn from the deep places where memory keeps its vigil.
From that single spark, the music begins its long wandering,
crossing shadowed halls and wind‑worn thresholds.

This work tells of two distant realms whose fates brush like wings in passing:
a southern quarter of stone and smoke, where streets coil like serpents,
and a white‑walled keep across the sea, standing bright as a blade in winter sun.
Between them runs a path unseen, a soul‑road,
where echoes of the living and the lost travel side by side.

The music moves as travelers move —
with sudden surges, with long silences, with the weight of stories unspoken.
Its harmonies are forged like ring‑metal,
layer upon layer, hammered by time and tempered by grief.
Its rhythms stride like warriors across a whale‑road,
steady, unyielding, bearing the burden of remembrance.

Yet within the sternness lies a quiet fire:
a flicker of hope, a lantern carried through storm‑dark nights.
For every descent into shadow is met with a rising,
and every lament finds its answering light.

In the final moments, the sound gathers itself like a great tide,
lifting all that came before — sorrow, honor, longing —
and carries it toward the far horizon,
where the known world ends and the dream‑realm begins.

This piece stands as a barrow‑stone for what has passed
and a way‑mark for what is yet to come.
It is a witness, a vigil, and a vow.

Invading the castle with music would involve riding at the heels of suggestion.  Does it boost our morale, or theirs?  Probably both.
 

Hear this tale of sound and storm,
of two far cities whose names ring like steel.
When the first note strikes, it does not whisper —
it leaps, bright as a blade drawn in moonlight.

The music begins its march across the world,
striding from fire‑lit alleys to white‑stone battlements,
from the pulse of the street to the hush of a sacred keep.
Every rhythm lands like a warrior’s footfall.
Every harmony turns like a shield meeting the blow.

There are moments when the sound surges,
a wave‑strike rising to swallow the dark.
There are moments when it narrows to a single ember,
glowing, waiting, refusing to die.

This is no gentle wandering.
This is a quest‑song, a journey carved in thunder.
It carries the weight of memory,
the heat of struggle,
the spark of defiance.

And when the final crash comes —
when the music gathers itself for one last charge —
it does not fade.
It ascends,
lifting everything with it,
as if the whole world were being hauled toward dawn
by the hands of the brave.

By the time I had gotten to the castle, I had forgotten all about nuclear warheads.  The castle keeps smiling at me.  I looked back at the castle one final time; it's really cheeky.

When I thought I had given up, I remembered never to give up.  So, by the time I had left the castle, I had won with a smile.  (If the program notes don't make sense, neither does this song.)

Anyway, the greatest advantage, if I were to invade Himeji, I have is that I'm from a small town, "Rockcastle."  We are population, 17, at peak hours.  Though, we are small enough to fit in a horse.

Listen close, friend, and keep your voice low.
The walls around us are hollow oak, and every creak carries.
We sit in the dark belly of a thing built from lies and brilliance,
waiting for the right moment to strike —
and the music begins in that same tight hush.

This piece is a tale of two cities, far apart yet bound by fate,
as surely as we are bound inside this wooden beast.
One city hums with restless streets and firelit nights;
the other rises white and silent, a fortress of wind and memory.
Between them runs a hidden passage,
a secret path only the bold or the desperate would dare.

The sound moves like we do now —
slow at first, steadying breath,
hands on hilts, eyes adjusting to the dark.
Then a pulse, a signal, a shift in the air.
A rhythm like the tightening of a grip.
A harmony like the glint of a blade in moonlight.

There are moments when the music surges,
as if the whole structure might shudder under the weight of what’s coming.
Moments when it narrows to a single thread,
a whisper shared between warriors who know the cost of silence.

And then —
the charge.
The sudden, unstoppable rush,
as if the wooden walls burst open and the night explodes with fire and motion.
The music leaps forward like men dropping from the horse’s belly,
feet hitting stone, hearts hammering,
every step a vow fulfilled.

When the final sound fades,
it leaves behind the echo of a deed done,
a city changed,
a story carved into the long memory of the world.

"Himeji's," form is to reflect the architecture of the castle.  Japanese Baroque, with all the atonal fugues in the world.  I don't know a whole lot about Himeji, but the castle says a lot.

References:

Cascone, K. (1998). Blue Cube. Germany; Rastermusic.
Harper.  A dialog I had with Microsoft Copilot.  2026.

Today I'm bringing a couple synth pieces I composed. I've recently been inspired to work some more in this realm. So, I jumped into FL Studio and used some of Analog Lab V's great presets and instruments.

The first is called "Moving On"...it's a more uplifting and positive piece than I usually compose. In my mind I see someone moving on from a breakup | life change | childhood home and taking those first steps towards their own journey.

For the second piece, I titled it "Running Through the Dark". I leaned into a darker sound for this one, more horror oriented and intense. I envisioned someone in a dark forest running from an unseen force or being.

On both of these, I have tried some new mixing techniques to try and make things sound clearer and less jumbled.

Hope you enjoy the listens and can't wait to hear your feedback and what images these bring to you!

What should I add?

sorry for the audio being absolutely chopped and laggy, i just might of went a bit crazy with the drums😅

II. Betrayal is a sanguine emotion.  What's worse is how a sense of normalcy stings the soul, mixing emotions into a turmoil.  That if we didn't have
certain parts of the brain, we'd misunderstand the 'impulse' to create violence then and there.  Zelensky, the leader of Ukraine, has considered stepping
down from leadership if it meant helping Ukraine, but that was after his feeling of disgust having to accept a deal, under duress, from the US President over
minerals.  He's becoming more defiant to our leader.  I listen to the second movement watching Zelensky's emotions flitter like a flame much like in the 
music.  You can hear when the deal takes place in the music, and provocative trills send the listener in bewilderment as something happened.  Reality moves
slow at first, and the trill is unrecognizable.  When reality is sped up, the trill can be heard and one is left in bitter extolment.

III. Con Gusto, is a musical step away from the bitter cold politics to a snowy landscape exotic with strings, horns, all built on a fugue.  A fugue is
closer to home to Ukraine than it is to America, as the fugue was invented in Germany.  I'm sure the affluence of Bach is heard stronger in the region
creating a sense of stir.  Con Gusto, is the feeling of energy gained from clarity.  The haste can be heard as each instruments intricately intertwine to a
meaning as a whole.  A fugue demonstrates a whole through its sum of parts, and I imagine a well country comparable to a well oiled machine.

IV.  Chorale March, is a musical language that exceeds this world.  The language is remedied from what Beethoven established in his romantic ideals,
and in the 21st Century all music that has once been created may be further extended as a new, or neo, idea.  Beethoven's romantic ideas are further known
as neoromantic.  The music comes from the big storybook of God, the artist uses as a peek into the future.  The sounds are soothing, and begins with a big sigh.  All sounds are 'cordant to create the greater sense of rational, that order is a necessity in our world to survive.  If you listen to your heart, you
will hear a great deal of happiness echoing through history, that when we work as a whole there is sometimes friction - there is always peace within.  You 
can hear what is bare for the human in the absence of identifying personas, that I am only with my country when I want to be, that I am only who I am when
I want to be, and to simply pause you can feel the love of God and him smiling upon us in our efforts to create something worthy of ourselves.  Though, it is
sometimes a symphony to remind us to pause.

I hope I at least get a 7.5 average rating

a piece for my very beta game: cat. play here: https://flowlab.io/game/edit/2837945

I noticed that the second one gets a little repetitive after about the midpoint, but by the time I realized that, it was too late to fix the problem.