Leaderboard

On both viola and piano I have to practice. Usually start with something relaxed I can play, then get down to it. Then end with something easy, maybe an improvisation on a lounge number (piano) or a Kinsey easy study on viola. I still practice a couple of Liszt studies (I can only play 2 adequately) to keep nimble, exercise stretch and aim. They usually tell me where I need more work. Liszt was my best piano teacher. I learned to suspend a melody in the middle using thumbs of both hands. Also those nasty arpeggii where you have to move the entire hand to change from thumb to little finger and vice versa. I also do hand exercises away from the keyboard, keeping up with finger independence. All grist to the mill as they say!

Yep. I can tell what note, octave, and often instrument is being played even blindfolded. The only 2 instruments that I have a hard time telling apart without visual cues are Violin and Viola, that's it. And as far as melodic memory goes, mine is probably the best out of a lot of people, I can hum or sometimes even sing the entire Beethoven's Fifth Symphony. Not any specific instrument, just the overall sound of the symphony.

Not often, but when I do, I often play preludes by Bach and Chopin. As I said before, Bach and Chopin Preludes. Nope, I've got perfect pitch so no need for ear training. Nope, I'm not a singer and even if I were, I don't know of anything made for Alto singers in particular. Back when I was 10 years old, I could sing tenor, alto, and soprano. But then as I went into adolescence, the tenor range got cut off immediately and the soprano range got restricted. It started with an upper boundary of G6, and over the years that upper boundary went down to F# and then eventually C. Now, I can articulate higher notes than that C with my voice, but it requires me to reach the high C first, I can't do it unprepared. And even if I could, my Soprano is terribly squeaky, so I tend to go down an octave by instinct instead of staying up there. And yet, most vocal works and exercises I have seen have been for Soprano, Tenor, and Bass. Sometimes I see the Tenor exercises and works with an Alto option, but nothing that I have seen is primarily for Alto, which is my natural range. The transitioning between 2 themes, I do that all the time in my compositions, so no need to practice that as an exercise. And 4 part writing I rarely ever do. I've written chorales in several of my pieces(like for example the Bb major section of my Summer Evening piece), but they often end up in 6 or 7 parts, not 4. I treat every arrangement I do for orchestra as an exercise so considering that I have arranged Eine Kleine Nachtmusik, Prelude in G minor by Rachmaninoff, and the Pathetique Sonata for orchestra, yes. I did that in my early years as a pianist, but now, I just transpose on the spot, no exercises needed. I can even do major to minor on the spot(example, taking an E major melody and transposing it down to C minor) Yes, especially the orchestration exercises.

Yes, there is a way to make the pieces end on a more conclusive note, but doing it is a little tedious. It basically requires a lot of trial and error. The program generates an elaboration on the current piece, and then you decide whether you like the way it ends. If not, then you reject the elaboration and wait for it to generate a new one. Up until now, I've been giving the program largely free reign, which produces results much faster.

I would like to enter as an entrant.

Nice impressionistic piece! (and with some appropriate use of whole tone scale thrown in too) Some parts sound like Erik Satie. Although there are plenty of sections that sound uniquely you. 1:48 is where you take a very unique turn that's more reminiscent of your background in popular music (I think?) Then you end that section with a nice half-diminished sound at 2:40. It also sounds appropriate to accompany rain. Nice job!