Leaderboard

No, it's not. This is arguably the most key concept in stochastic and aleatoric music. In an abstract sense, there isn't even such a thing as total indeterminacy. Consider the meaning of the term - the absence of determinants of any kind. In order to achieve that, the work may not be explicitly presented as music, or any other kind of art form, it must not be presented by anyone to anyone, it must not bear any sort of title or have any ideological connotations, it must contain only random data unfettered by any limitations of medium, or of time and space. It cannot even be a work in general, because that already determines a great deal. Really, it is ridiculous to even acknowledge the idea of total indeterminacy, to attempt to realize it is impossible. So what's the logical conclusion? That nothing is totally indeterminant and "indeterminacy" really refers to level of freedom in the composer's hands. Therefore, you can have things which are more or less indeterminant, and you can control said indeterminacy. This is a key concept in stochastic and aleatoric music, and it is crucial what parameters you decide to leave to chance or performance whim - if you leave everything up to chance or do not take the process seriously you are engaging in a mundane type of compositional masturbation which is all too common with aleatoric types. In practical terms, both highly indeterminant music and highly determinant music is devoid of meaningful information - there is either too much or too little information and it becomes static and lifeless.

Pretty good as it is, I think... though I would resist to use so much sixteenth note work unless it's motivic, and a lot of it seems for the sake of tempo, which can be good! Just not too much maybe. Your 3/4 stuff starting m. 48... maybe it would be better in 6/8 just looking at how it's written and how it sounds. There's no triple meter the way I see it. Maybe don't use block triads in the left hand as much. Find a way to integrate it better with the right hand. Also, more dynamic contrast! Even if it is supposed to be loud the whole way through, things can ebb and flow. More articulation markings, crescendos, etc... Use cross staff voicing for your triplets when they get really low. The triplets, by the way, obscure the beat a little bit. not sure if that's what you wanted, but they do. Cheers!