Aiwendil

My feeling is that, regardless of your opinion on AI music, this is a composition forum. Prompting an LLM to generate music is not composition. Therefore, it has no place on this forum. It's as simple as that for me.

This is really lovely. I don't have time to analyze the score in depth, but as others have noted, it sounds very clear and smooth for eight-part counterpoint. I'm sure that if I tried to write pure counterpoint like this for eight voices, I'd find them getting in each other's way constantly and I'd end up with a thicker, muddier sound.

This one's quite interesting, too! I like the lazy sound to the counterpoint (I don't mean that at all pejoratively; I'm just not sure how else to put it), where it really sounds like each group is doing its own thing and they're being allowed to combine in interesting and non-traditional ways.

This is a fun piece! I like the slightly off-kilter harmony; it sounds warm and comforting somehow. Don't know whether it was intentional or not, but in addition to the two carols you combine, I feel like I hear a little reference to "Deck the Halls" at m. 9.

I'm kind of wondering the same thing myself now! I guess I tend to think of the B flat trumpet as the "default" in a brass ensemble, so when I started writing it, I started with two B flat trumpets. The first trumpet part, I realized, was going quite high, so I changed it to a D trumpet. But it would have made more sense to change the second to C trumpet for a more reasonable key signature. To be perfectly honest, I was rushing to try to finish this before Christmas, and didn't think it through properly. Thanks for listening, and happy new year to you too!

Thanks! I do wonder if it maybe it would also work at a slower tempo. A brass ensemble playing this outside a church on a chilly, snowy Christmas Eve is exactly the sort of image I was trying to conjure here. Thanks for listening, and for your comments!

Thanks for listening! I do think there's some Baroque influence in it, though the Hummel concerto was probably the model most present in my head. As I was writing the second movement, I did worry the style was veering too far toward Romanticism, but I liked the movement and didn't want to change it.

Thanks for listening! Yeah, I was going for an antique English sound with those C naturals. By the way, I've been intending to listen to your C sharp minor sonata in full (I listened to the first movement when you first posted it on YouTube) but want to do so when I have plenty of time to enjoy it and give you comments.

Thanks! Yeah, I think I would have a hard time writing an extended piece for brass ensemble too.

I forgot about this, but may as well link the Christmas miniature I posted this morning.

Another little one-minute instrumental carol to add to the ones I've written previously.

Thanks very much to both of you for listening! I think overall I'm pretty pleased with the way it turned out. I'm especially pleased to see you say this, because I spent a fair bit of time not just writing the cadenzas but trying to get Finale to play them in a way that sounded human.

I don't sense this going astray at 4:37 that you seem to feel, personally. But you presumably have a better concept than I would of what the overall structure of the movement is going to be.

This is my first attempt (excluding some best-forgotten teenage stuff) at writing a concerto. The style is my own blend of Classical and some early Romanticism and perhaps a dash of Baroque, but I wrote for the modern valve trumpet. Admittedly, the tessitura may be a bit high, frequently going up to the 8th and occasionally the 9th harmonic. Any comments or feedback would be most appreciated!

Thanks for the comments! Yeah, the retransition from D minor to A minor is one of the spots I was concerned about. I had originally written it with a B flat 7 instead of an F7 in the second ending. So, the A7 resolving by deceptive cadence to a B flat, which then gets reinterpreted as a Neapolitan chord to lead to the dominant in A minor. But the modulation sounded too quick and unconvincing to me, so I tried to the F7 (functioning as a German sixth) instead, but I worry that the logic of the A7 -> F7 is weak. I've listened to it a bunch and go back and forth on whether I think it works. I may try tinkering with it. Thanks for the suggestions!