Composed during the past couple of days. The quality varies considerably:
 

 

 

 

Edited December 25, 2025Dec 25 by Polaris

 

 

 

Edited December 26, 2025Dec 26 by Polaris

This is by far my most fugal composition. I had today some realizations about the nature of music that really played into the unfolding of its structure:
 

 

 

Today I was up without end working on a new program I invented. I promise that this one doesn't sound horrific like the others I've done. In fact, it is frankly quite genius. All I do is enter a melody, and the program then generates counterpoint in up to 5 voices in a matter of less than a few seconds:
 

 

I greatly improved the program by integrating stricter voice leading logic. Here's some output:
 

 

I developed a method of getting the panning and the loudness of every partial (sine wave sound component) in the song exactly where I want it in a matter of seconds. It's been yielding results that sound pretty good to my ears. My theories seem to be working. Incidentally, the principles behind  this method of mixing were inspired by my faith in God.

Edited January 5Jan 5 by Polaris

 

I created a program that is intended to remix audio so that every sine wave component in every harmony that occurs in it is ideally panned and ideally loud. It makes use of the Fletcher Munson equal loudness curve, among other things. Here's a little remix of J.S. Bach's organ sonata that I generated to test it out. There is one small imperfection in its functionality that I can't really do anything about because there isn't any precise scientific data of the kind I'm looking for on the human perception of panning. It still produces pretty good results:

 

 

 

 

A church organ, a clavinet, and two human voices join each other in this composition of mine:

https://soundcloud.com/user-321964225/captain-rosemurt-iv

Edited 1 minute ago1 min by Polaris