Leaderboard

Hello! Here's a funeral march type piece. Form and harmony are very static and simple, in Fm with an A | A1 | A2 form. Hope you enjoy, and as always, any comments are welcome 🙂

😁

I’m kind of on the mix opinion here for me AI music seems very dishonest and rather very silly in its own part. It should have no place competing against real human work however, though I am completely foreign, even encouraging the use of some AI music software’s. (stuff like cantai.) that allows for the performance of a human work to be perfected. Thing number one: I definitely feel like that a performance using AI is not as bad again this is not regarding about the performance of music. This is a regarding about people’s compositions. Thing number two: it should be unfair to have AI as a wild thing in competitions. Sure they could be in an events. Events are perfect for AI as that nobody is competing against anybody, however, though I feel like top priority should be given to real people’s human works first AI could wait. Competition competitions and AI do not mix unless if you have a AI only competition My final thing to say though is, I am very mixed about having a AI only sub if we do have one sure I wouldn’t mind as much and it’s not a huge problem but again you’re not composing music at least there should be someplace for AI music here and to have at least a very strong filter that can be unable to get rid of it for those who do not want any part of it things to go against AI is definitely some anti-AI software to tell if someone is using it for ill intent. At least some knowledge of a piece of music can work as proof and even if it’s a short thing, then at most a score to accompany with it. Honestly for contests score in audio should be mandatory unless if stated otherwise. Thank you.

@Wieland Handke, thanks for your gracious words and the extensive review. Regarding the second theme in the Allegro, I have composed a version with a more independent bass line in m. 13, 15 and 19 (not 23); it hasn't the same drive as the quasi-Fauxbourdon, but it is something I will revisit as, yes, it is a bit repetitive. The score has to be reformatted for playing, no question about it. This is especially true for the Rondo which I produced rather quickly. Thanks for looking at the bass line in the Andante; I will have a look. While I am no productive Lilypond user anymore (which I am still fond of), I have indeed a separate file for audio output for all movements. As it was customary to ornament the repetitions, I added some plausible ornaments in the audio file for the minuet, and some other small modifications which an experienced cembalist would add.

Thank you for your feedback , Henry Ng Tsz Kiu.

(Verse 1) Welcome to the playground, where the rules are all a lie You say you want a show, but you can’t look me in the eye Fists behind your lipstick, whispers in the hall You want me to be quiet, but I’m breaking down the wall (Pre-Chorus) You dress me up in sugar, but I’m made of something rough You want a perfect puppet, but I’m calling out your bluff (Chorus) I don’t wanna play in your fight club, Don’t wanna bruise for your fake love You want a winner you can pick and choose But I’m not here for you to use I don’t wanna bleed in your fight club, Don’t wanna break for your fake hug You want a trophy you can push around But you’ll never knock me down (Verse 2) Broken crown and knuckles, you love a bloody scene Cheering for the chaos while you’re hiding in between You want a pretty fighter, but I bite back twice as hard I’m not your little secret, I’m your battle-scarred (Pre-Chorus) You paint me with your rumors, but I’m coloring outside You want me by your side, but only if I hide (Chorus) I don’t wanna play in your fight club, Don’t wanna bruise for your fake love You want a winner you can pick and choose But I’m not here for you to use I don’t wanna bleed in your fight club, Don’t wanna break for your fake hug You want a trophy you can push around But you’ll never knock me down (Bridge) You want a show, you want a scream But I’m the fire in your dream Not your game, not your pawn I’m the war you can’t move on (Chorus) I don’t wanna play in your fight club, Don’t wanna bruise for your fake love You want a winner you can pick and choose But I’m not here for you to use I don’t wanna bleed in your fight club, Don’t wanna break for your fake hug You want a trophy you can push around But you’ll never knock me down (Outro) So ring the bell, let the punches fly I’ll still be standing, don’t need to try I don’t wanna play in your fight club But I’ll survive your fight club.

Thank you! I'm using https://www.soundtrap.com to make the instrumental part.

Hi @Cafebabe! It's funny to listen to this with a fast tempo on a fortepiano, but I would say it's completely managable to play. I like the imitation between hands, and variations of rhythmic patterns. Thx for sharing. Henry

This looks quite useful and interesting! I have to admit, I don't pay special emphasis on musical engraving at all because I never consider an essential part of composing at all. Henry

I also must admit that I’ve never read or heard about those two books. However, score engraving is an interesting topic for me and I take a lot of care to produce satisfying scores for my compositions. Therefore, that „debate“ should be something for me, too. The only „literature“ I’ve actually read about the art of music score engraving is the „Lilypond Essay“ which I’ve linked here. Even if I run the risk of @Henry Ng Tsz Kiu is thinking that I am a Lilypond lobbyist or salesman (😆, I must think on the „rodeo“ between Henry and @SeekJohn14v6 ...), I am just a Lilypond user, and I’m glad with this notation software for two reasons. First, the approach of writing „source code“ and „compiling“ it into a score and a MIDI-file is the right one for me, since in my everyday work I'm familiar with writing tons of lines of source code rather than using a WYSIWYG-interface. The other, and possibly more important fact is, that the resulting engravings are much more satisfying and similar to old-fashioned hand engravings than the most of the other notation software solutions are currently able to produce. So I had a small look again at the above cited „Lilypond Essay“ and, interestingly, the two books you mentioned can be found prominently in the „(Short) Literature List“. I looked around, if I could find some PDFs, excerpts etc. on the internet – and indeed I found some, so that I can take a view on that books to be able to participate in the „debate“ soon. Thanks for the suggestion!

Congratulations for this enjoyable and galant short sonata! It is nice to see such an easy and playable piece which comprises compositional skills to let it sound in the mood of the late Baroque era. Allegro An easy to play but clearly structured sonata form movement! I especially liked the phrases with the syncopated, perhaps staccato eighth notes in the second theme in bars 17-18 and 21-22. To make this second theme even more colorful and to avoid the tendency of repetition, I would try to vary bars 13, 15, 19 and 23 slightly, for example by introducing more counter-movement between the voices, at least in some of the repetitions. Might be that the finale could be made a little more elaborated, for example by creating two variants for the last few bars, so that in the repetition there could be some more ornamentation when reaching the final chord. Some aspects regarding the playability and “aesthetics” of the score. Measure 31 should be moved to the first page to avoid turning the page, which is only necessary for one measure here, and I would try to balance the distribution of measures between the staves so that the last staff does not appear so stretched out. Andante Serious, with slow rhythm, but also with a dancing character, perhaps an Allemande. I would avoid the octaves between bass and treble in bar 4, third beat and bar 5, first beat. Perhaps the bass could be in mm. 4-5 as | D E A Bb | F C# D F |. The same in bar 13, first beat (G instead D). Minuet The minuet is another superb example how an easy piece can be expressive and full of character. I love the articulation and ornamentation which unmistakably emphasize the dance-like character of the minuet. By the way, I think I have recognized some more or different ornamentations in the recording than in the score, for example in the repetition of bars 7 and 15 of the minuet and the repetition of bars 4 and 6 of the trio. Is it a live recording or, if not, did you have to realize all that ornamentations in your notation software „by hand“ to achieve that realistic effect and the distinction between the different occurrences of the section due to the repetitions? I ask this because I do the same thing when writing a score, having a „print“ score and a „midi“ score achieved through „if-else“s in the same Lilypond source code. (Yes, I have seen in your profile that you are one of the few composers who also use Lilypond ...) Rondo At the end the fun, the fast rondo. Here, I would assume that this is not a live recording, which would bring to the piece the intended lightness and elegance with more soulful phrasing - that the composition undoubtedly contains. When reading the score, I was initially somewhat confused because I could not see the upbeat note that introduces each next phrase. Therefore, I would divide the two eighth notes at the end of measures 4, 13, 17, 21, 25, 29, 33, 37, and 61 into separated ones that are not connected by a beam.

Hahahaha the photograph showing the DAW is epic It's my theory that Nickelback minus Chad Kroeger's voice is phenomenal, but their infamy remains. This music melts faces, and makes mine do this: Awesome job my friend!

Hey Chris! This one sounds really cool! I have never listened to the original song but after listening it, I have to say your version is better! How come a Rock God song lacking rock elements in it! Thx for sharing!! Henry