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I get what you mean :), I made this version of the "score" for myself so I already know how to interpret it but if I wanted someone else to do it I would tell them to interpret freely! I think same goes for the poem, it doesn't mean anything clear and different people will interpret (or recite if we want to compare to playing) it in different ways.

Oh, all right. I also see graphic scores as something like that, but as a composer, you have to be prepared for the fact that the interpretation of these scores can vary greatly from one performer to another. The thing is, some people believe that a graphic score is a kind of PRECISE set of symbols indicating exactly what should be performed. Well, that’s not my idea of musical indeterminacy. The beauty lies in allowing interpretive freedom and giving weight to the performer(s).

Hi I think it's a very interesting piece with an intimate feel to it, which I really like. When it comes to graphic scores like this, I don't have much to say because everyone interprets and works with them however they want. For me, that's an added element of interest.

Hey again Vince! I like how this one sorta starts like an invention. It also has a certain dichotomy between major and minor that's really interesting. Like I didn't perceive the main melody in the beginning to be in F# minor, but the piece is clearly meant to be in that key since that's how it ends. Also, just from listening without the score, I wouldn't have known that the piece modulates to Db so very smooth transition there. I would perhaps make sure that the tie from A natural to Ab at the key change with a slur over it is clear that you mean that to be a different note, not just a continuation of the A natural (perhaps a courtesy accidental might be in order). But that's just an engraving nitpick. Thanks for sharing!

Hey @Thatguy v2.0 ! I like the unusual palindromic structure of this one! I feel like perhaps giving this one a heavy reverb and perhaps a delay effect as well would make it sound like some kind of a cave level in an RPG which I love. It has a clear sense of tonality despite the adventurousness, both starting and ending on an A minor 7th chord. And there seems to also be that strange dichotomy between the tonic and it's tritone (Eb) that we talked about. This is a very interesting piece from a lot of aspects: melodically, rhythmically, harmonically. Great job and thanks for sharing!

Hey @Thatguy v2.0 ! Stoked to hear another installment in your series of Preludes! I've been meaning to give them a review for a while now so here it goes! First off - I love the idea of these recurring flourishes that you insert into the piece! I think my favorite one is in bar 20 - that chord is just so weird - I think it's just an E5 b9 right? That's such an unusual sonority! I also like how the piece takes its time getting started - it feels like the real melody doesn't actually emerge until bar 16. It seems (at least to me) that all the other melodies are variations of this central and pivotal idea at bar 16 which is the prototype/main melody in the piece. But it emerges organically as if from out of a fog which I love! Great job on this prelude and I'm stoked to hear the next!

Sad to know there's an end! "If I'm going to give a deadline to our love, I hope it will be 10 thousand years..."

@Omicronrg9 Hey thanks for checking this out! Agreed, and I will say that this is such a pain in Sibelius. I can't tell you how many times I attempted this, but it needs to looks better. Speaking of attempting, I rewrote this so many times. It was to show major/minor on Db, but I was afraid of the key signature changing. I changed it to all flats, but I was confusing myself thinking in Dbm (I'm a noob). I then changed it to all sharps, and that was a little better, but back and forth from C# to C#m hurt my brain too (super noob). So in the end, I said screw it and just used Db/C#m 😁 Thanks for the kind words! It's a goal to have them all different, they're bound to appeal on all types of levels :) The end is 24 Thanks again for listening Daniel, looking forward to hearing more of your music!

This is a very interesting idea for a project and something I think many choirs would be interested in performing! Was there a reason you particularly wanted to restrict yourself to "calm, short pieces?" I'm curious what other texts you are thinking of incorporating; these first two are certainly a good start! It's a shame that Cantai doesn't give the vocals a more monumental sound, but it's still helpful for a sense of how everything goes together. I particularly like the little harp arpeggios for their sense of wonder. I'm not sure you need to specify the number of choral singers on the first page of the score. Instruments are good at being loud, so choirs that work with orchestra are good at maintaining membership big enough to balance orchestral forces. And the choral singers generally aren't paid, only instrumentalists and vocal soloists, even with major orchestras. So usually the paid orchestral parts are the only ones given a number of players needed. Nice!

I was just playing around/jamming a bit to your tune and at 0:19 it seems possible to perhaps change the left hand into C major chord, though you may need to change a few right hand notes if you want to "fit" the new atmosphere. From there, you could do something like F major, followed by G major and back to C major. This would sort of fit the whole i IV V thing you got going in the A minor key. If you want to get really fancy (keep in mind my music theory may be not the most accurate here)...I sometimes think of the ii chord (D minor of C major as a substitute for F major. So you could add that in, though I'm not sure if that works for your piece. Sometimes, making the F major (the IV) into a minor, so F minor sounds good. I tried jamming to your ideas a bit with the F minor and it sounds okay I think. Then you have to make a decision...to stay in C major or return to A minor. You could play G major if you want to stay in C major, or get the E major going, if you want to return to A minor. Sometimes it's fun just to switch the key suddenly and without warning (my hero Schubert does it often), so you can just slightly randomly turn the A minor into A major if you wanted for fun. A more advanced idea would be to switch the key using one note that it's same (I didn't do this on the recording). So if you are playing like an A note over and over...A is also in F major and also in D major, so you could sort of just "slide" the music into those slightly more unrelated keys that way too. Voila! You instantly have variety. I recorded myself noodling around a bit so you can see. I'm just an amateur composer, and I'm sure that you can get much more "precise" and robust feedback from others on the forum. Example.mp3

Not sure where you're based. In the US, courts require "meaningful human authorship" to claim copyright, not just human contribution. You did not author the final product, just the prompt. It is possible to claim copyright to your part, but not to the final recording. Suno may have granted you commercial license rights if you paid them extra, but that is not the same as being able to claim copyright. Also, after listening to music created with Suno like this, I'm always less and less worried about AI music taking over. The use of kitsch and corny elements are through the roof, seem to have no relationship to the genre/style of the original concept, and have a redundant, non-developing form. "In my AI ethics course, any user that creates with AI is the sole author." - I am quite curious as to what sort of unreliable AI ethics course would be promoting this, as it's standard knowledge that all writing, graphic, and musical LLMs are only possible because you are not the sole author.

Civilization 5 has some pretty sick music. This is one of my favorites.

Hello, They sound real nice. Sort of feels improvisational, reminds me of something that I might hear in an indie movie or something. Felt a bit cheesy at times, but not in like a bad way, you know? Good cheese.

Hi Thatguy. I like the contrast between the arpeggiated chords and the almost solo voice passage. Both of them combined act as the structural pillar of the piece in my opinion, and you make good use of them. It may be true the midi doesn't do it justice. Engraving-wise I'd suggest putting these wide arpeggios in small notes so it's even clearer where the molto rubato acts and where the piece gets a bit more rigourus in tempo. I don't quite get the switching between Db and C#. Why is that? That aside, the prelude works for me but it wasn't my cup of tea compared to other preludes I've listened from your list. It's soft indeed and pleasant to my ears, especially the middle section in which the (1) seems to wander around chords. How many preludes are left? Or are they not gonna have a set end? Best regards!

@Henry Ng Tsz Kiu As always, you performance is lovely to hear. That makes sense now @Thatguy v2.0. I forget that programs are not smart enough to understand how we play the piano. :)