Vonias

Alright, more bass movement in ambience, and bass timbre. Right, so work on the bass. I can do that. Yes, I was personally asked to tone the music down a bit. hahaha

Alright, fixed the dark mode issue. Counterfact in this case falls into the "other" category where it's all else but redefining a set of chords into a new song, creatively. I simply forged one of my songs with a new title to approach a different context that also resonates emotionally with me. I was inspired by, Kim Cascones, "Recontextualizing Ambient Music," vying for a more convincing sound structure, if not by the pounding of the anvil that is ostensive in the music: Recontextualizing Ambient Music in Csound That's good that it doesn't bother your ears. I had it professionally mastered, before I shared. I have the unmastered version somewhere if that's your thing? Subtle horror is tough. I thought I had got it, it's not so much unexciting, but uncanny, psychological, maybe personal, but the subtlety in horror is tough to pull off without explaining everything. Maybe you have a few pointers? Anyway, thank you for the review. It spurs me on to the next one.

"Abortion," is a counterfact from my symphony, "Ocean Shell." The 3rd movement is recontextualized under the topic of abortion, and the title comes with its own disclaimer. The song itself is a bit of a revolving door that works well in conversation. It depicts the images that he had seen from a civilization with too many abortions. The effect is subtle psychological horror. You can hear the unerring piano striking a nerve, eventually leading to catharsis release at the end of the song. Something, resembling a human emerging from the soundscape, screeching with agony. Yet, the music is presented in a matter of fact manner, like this is normal. Listener discretion is advised? In America, we share our fears. Feel free to remix. In practice, when someone says they don't like the song, "Abortion," I tell them I don't like abortion either. You either love it or hate it. With that said, the advocacy is there in hopes that anyone can make educated decisions about the process of hard topics, in the news especially. The track was developed from the saxophone, piano and ambience added after the original sound. The saxophone is slowed using Paul's Stretch to convey the "orchestra" hidden in the horn. Altissimo peaks at a hotpoint in the sound, seering white hot spewing lashing out with ocean waves in consequence after the "blissimo." The piano really throttles throughout the song unapologetically. If you never felt guilty, you may now. Anger is accepted form of currency to the imagination in the symphony. The ambient instrument was developed by, Kim Cascone, and he was kind enough to be available for review, when he's not trapped in covert. The form is freeform, but if the altissimo were a dividing factor, a monument to the piece, then it is a diptych, where fractal frames embolden the images experienced. Pretty much anything you could say about abortion is true for the song, too. 😕 Have fun!

Sounds like you have a strong grasp on aTonal music! It's not repulsive as experimental atonal music, but it conveys well the message of urgency and importance to the audience. Since you have that down, I recommend exploring more compositional techniques; personally, I don't like long intros, and drawn out sections. The shape of the overall structure doesn't need to be so square. I love the dramatic qualities of the work! If you need more atonal inspiration, check out my website: www.atonalfugue.com Here, you will find that the numbers apply to just about anything. I wish you well on your total serialism journey, and I'm sure the birds do as well. Thank you!

I've begun a challenge for myself, creating Halloween music for the month of October. So far, I have "The Raven," "Headless Horseman (Salvos)," "Cthulu," and "Bessy." Bessy, is the Lochness Monster based in Ireland, or England, I believe. Scores are also attached. The process is pretty simple. I store my numbers in the website, then work the music by more instinct and storytelling; it's so difficult to describe the joy of atonal music, so I hope the website inspires you: Projects - David Harper The website is a multitool, that manipulates your set in a linear fashion creating arrays very close to the original that you input. Further inspiration may be gathered by the in depth report generator. Physics terms are more complex, while the basics are present. Furthermore, I created one method for composing atonal fugues, and the website will generate a fugue based on that method; atonal fugues, are tough, so have at it! Other than that, the performances are based on sounds generated by, Garritan. Also, the works were instrumentalized by AI over at Suno.com! If you haven't checked it out, now is the time after Suno Studio was released giving midi access to your creations. Copyright with AI is not so complicated: Copyright in, copyright out; also Suno has your back too with protection. Anyway, anyway, the purpose of Copyright is to encourage creativity; so don't hold back on the numbers input on the website, I provided. The fractal viewer allows you to see the physical effect each note plays upon the other to make you more accurate in your composition. About the only thing the website doesn't do, is serve coffee; but you have amazing taste, already, why would you need a website?! Carrying on, each composition is Halloween themed of monster favorites in America. I'll write music about some of the folklore in the area too! Cthulu for example, is very popular in a small town I lived. The next one will be the Chuchacabra, and Big Foot later. Some horrors include zombies in the small city I live in, and everyone is excited to tell their horror story too. One that comes close is to the area is the Bell Witch, told be the amazing William Turner: Historian William Turner weaves tale of Bell Witch Thanksgiving is all about the Crucible, Canterbury Tales, so I'll see how long I can keep this thing going into November. The Raven, a macabre march blending Gothic, Romantic, with contemporary Wind Ensemble. The polarity of aTonal music to tonal, is like a crunchy smore with gooey insides. I had no idea the complex ration facing when composing in this style, so I held on until everything around me changed. The two styles are oil and water, not to mention that they are very kinetic in response to sound creating a mission impossible for the composer sometimes. My friend wanted Hisashi's music in the song, so if it reminds you of the films, Kiki's Delivery Service, you are not far off from accuracy. Cascading thirds triumph in the trumpets, also creating the 'D' section of the form, ABACADABA. Most people get it, but just say the magic word, and all your dreams come true. The nuance leaves the composer big headed, and too clever for his own good. Salvos, is a complex machine of musical systems to create the effect of omni-movement of a horseman that managed to ride around with a jackolantern on his head. Can you imagine the coordination; he must be a musician, too! The song is very festive, set at the gross tempo of 144, to give that ghoulish quality to it. It's the same tempo as Michael Jackson's, "Thriller." Though, the song is tonal, the source originates in aTonal as loosely interpretted by the AI. I went with it along with the instrumentation, that summates a fast gallop in a dark soundscape. I think AI interprets most serial music as diminished, oddly enough. It's easier to measure the major seconds as consonent, and that resembles more serialism music to me. Lochness, is a lonely pianoscape of sound. I thought it reflected how lonely Bessy is as a monster of the lake. Serialism maintained better in this version, it sounds like a hybrid. It's hard to escape that aTonal melody, so I allowed AI to interpret the melody as a "reharmonization." The spindle catches on well the isolated sounds, melody, and creates a haunting beauty. This melody was made by the fugue generator in my website. It demonstrates all styles of fugue essentially - Stretto, augmentation, diminution, and appoggiatura. Cthulu, is aTonal. I was strict with the instrumentalization process. I imagine Cthulu to make ample use of ostinato creating a normalcy, only until you find the 'C' a completely different color by the end of the song. huehuehue. Only an octopus would think of that. The chords are thick and lend from Coltrane's "Sheets of Sound." I had to double the bass part to make the melody clear for AI, and I loved the organ quality created. Enjoy! fractal-fugue (1).mid

I used this prompt: At 84 BPM, this 7-minute track fuses atonal, serialist synth pulses and evolving textures, building slowly with sparse, shifting patterns. Verses feature minimalist motifs and precise percussion, while choruses unleash glitchy break core and DnB drums—rapid, fragmented, and hyper-detailed. It's a secret for now, but I created a website that generates atonal fugues at the press of a button: Projects - David Harper Then, with the generated midi file, I upload to Suno.com - it began picking up on atonal, serialism, and explicitly, Schoenberg.

So, I finally convinced AI to perform serial music. If you know, AI is very stubborn in creating everything tonal and consonant. It's good at that, but you can modify midi to be strict and work with AI to create an atonal sound. I like the idea of modern fugues to create a sound of undulating persistence. The sound is deliberate. Though, this fugue is more of a Passaglia, it's within reach. fractal-fugue (46).mid

Are the results posted?

Thank you HoYin! I've been studying the effects of surprise in psychology. It was believed that a sudden attack in music after tranquility helped release the "bad spirit" or troubling memory. Anyway, I can't wait to have it performed live. If you know any ensemble willing to perform it, let me know!

Thank you Henry!

"Lion Heart," was written to describe the 12 Day War that is happening. I came up with my own system of modulating serialism: Home | Music Set Modulator The modulations work very well, giving the atonal music a sense of perspective and direction. The twelve day war opens with a trumpet fanfare, in response the upper woodwinds copy what the trumpets had said. After the initial statement, the music modulates to another tonal center. While the set modulates, it is not a direct transposition. Modulation is dynamic. The whole song is very percussive, like a machine gun bursts in some areas, bombs dropping in other areas, intermittent with lyrical rational between the instruments. Just when you think the twelve day war is over, a final percussive drive is offered. The form is closer to rondo, though the piece is sectioned symmetrically with an adagio section in the middle, according to the piano score. Much changes were made in the wind ensemble arrangement, which I will have a score soon. LionHeart.mid

No, no. .no, the metaphor of the Venus Flytrap eating the music staff is spot-on. Omicron, print out the illustration and perform the music. There's plenty to explore.

Omicron, You are making some phenomenal points! You're observations are very expert and perpetuate the excitement in music very well! From the many points that you had made, I had chosen two that make the symphony so exciting. Make the distinction that there is a difference between "modulation" and "changing key," now understand that the second movement is indeed serialism, and is also a fugue. 😜 My theorem states that anything on the array may also be modulated from the array: [0, 10] + 10 = [0, 9] The symphony was made in one measure. The timings are described in seconds, and its overall form is conveyed by its individual movements. Symbolism comes from a mathematical array, bits and parts of sounds from a traditional symphony are used to convey the sense; the form being hinted at is, "fast, slow, fast." Structure being blurred, however the artists have to keep the symphony easy to listen to. Writing a fugue with atonal concepts, thought to be possible, leaves one more caveat: the areay may be used to describe the form of the fugue. Back to your first point quoted above, the symphony's also described by its theme. Part of me reaches out and wants to tell you what is possible! When I mean the symbols, or sound effects, were notated, the same techniques used by, Beethoven, to describe birds. The constant sound from measure 6-9 was a drum I had created to complement the melody in the atonal fugue, "David's Heart." I worked fairly steady creating this song, and am willing to pour all the answers to you as I can. Vonias

Daniel, The symphony's usually defined by its form, and in this case it is a "same-shape" symphony. In the other case, a symphony is created from a small sample and a larger work's created; I've done this in my 2nd and 8th symphony having written 2 measures of music to create full-kength songs. The static nature of the movement's inspired by my theorem. I figured out a way how to modulate in serialism. I wanted to show off the qualities of modulation by juxtapositioning something static next to the movement that modulates. Though, it's not written for orchestra it is still possible. I try not to confuse my work with the medium, so in case the wirk can be heard in other paradigms: saxophone quartet being the best lead. "Despite harmony is present, the majority of the piece is filled by sound effects instead which don't pertain to harmony nor any extension of it that I be aware of." Music, is perfectly capable of demonstrating symbols. "Sound effects," can be a harsh term, but each note is notated and intended by the composer, structure is blurred to display my intelligence and keep the audience guessing, and actually each instrument is recorded at the same time using symphonic techniques; while scored as a chorale, reson, cutoff, and reverb are utilized to give one instrument a spectrum of qualities. Thanks and sorry for the late reply, Daniel

Where do I submit the material?