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Let me first start by saying that morally I HATE this. I hate that you needed a prompt from AI to give you any inspiration. Do you not feel anything when walking outside? Where do you live? What environment can you go to for inspiration? What questions do you have from our world understanding of science? And of nature? And of love, and despair, and progress, and sadness, and illuminating joy? What actually inspired this piece??? Sorry, but I feel like I'm alone in a world penetrated and infected with a growing need to be glued to technology. I've never felt more alive then when walking the trails of Colorado alone, or the river banks of Alaska with nothing but a .357 to keep me company. Are we so succumbed to the world of fantasy created from an inhuman way that we've lost the connection we have with the actual world we live in? Sure, your music is created by you. And it sounds really nice, so no comment there. I guess that's the ultimate goal, right? But God, I absolutely hate what the music you wrote about is "inspired" from. Maybe I'm just becoming an old man or something, maybe this is what aging actually is. But dude, write about a breakup, or the breeze you feel on a walk in the forest at dawn. Hell, even write about the order you got at Chipotle that was messed up. But any mention of ChatGPT, or AI, or anything of the like, my brain gets frizzle fried from a fiery ferocity that stems from the inhuman. Again, sorry.... I just hate the prompt. In reality, if you would have just said, "here's my newest piece, hope you enjoy", I probably would have said nothing but positive things about the actual music. But instead, I decided to take out my own issues on your post. So uh, again, lovely music, keep composing and all that. 😄

This was my hope 🙂 I think restrictions can bleed out creativity, and I was inspired by Bach's Prelude in C (major), you know, the famous one we all know. It's always a great test as a composer to restrict on aspect of music heavily, but then give room for the other aspects to flourish and rely on. I have 5-7 written out already, and sadly I strayed away from the augmented chords. I feel like it's something that's relatively new to my arsenal, but I ventured away from with the most recent pieces. It'll always be a part of my toolbox, but wasn't necessary with the content of the newest preludes. I really love using them in replacement of the V chord though, they're super fun. In fact, in one of the recent "rock band" songs I've pitched to the guys, I employ it's usage as well. I think it's functionality is underrated 😄 I'm thinking Saturday I'll post it Hey Peter, always glad to hear your input. I feel like you've had differences in opinion of my rhythms before, and this seems no different. I thought about what you're talking about as I was tying double dotted quarters to sixteenths, but ultimately I never wanted the melody and first bass note to "feel" on the beat. I felt like there was a significance to it being written the way it was, even if more cumbersome, as the first melody note never is the down beat. Interesting take though, I dig the perspective. 🙂 Thanks for checking out the music guys, more soon to come! This has been a really fun project, and one that has kept me motivated in composition outside of band music.

Yo Installment number 4 of my miniseries. Based around G minor/dorian for the most part. Enjoy!

Hello! I've tried to write this a little more freely than usual: you'll see the ripresa of the first theme is shortened and the codette at the end of the recapitulation are rhythmically similar but not matching those at the end of the exposition. I thought it worked better this way, looking forward to your comments. Also, I've tried to write this more quickly than my typical glacial pace, and I would be delighted to make substantial changes after your expert and welcome advice! It's really great to be part of this forum.quartetto 1 - Full Score.pdf quartetto 1.mp3

Here's one I like to imagine that Gilbert O'Sullivan might have tossed in his trash bin. It's an O'Sullivan type of choppy piano style. I love that uniquely original piano style/technique of his! The flute-y thing as usual with me is the lead melody for in case I ever add a vocal. People might not think it sounds sad but to me it is. I actually hopped to my upright piano right after watching the Disney/Pixar movie "Inside Out" and the chords and melody were almost there just waiting for me. It's not often that tunes come to me so effortlessly but this one did. Great movie BTW! I related to the blue "Sadness" character. It's a story with a universal message that sadness serves a purpose. It was done in the Sonar 8.5 piano roll. Enjoy! -Rick

As etudes are meant for instruction and practice, I wrote these to help with octaves and finger stretching.

Actually I love the distinctive sound of the alto flute not only for its low register. Some normal range for the regular flute when played by alto flute will add a colour of tension and stretching like viola playing normal high range of violin for me and I love that! Haha I don't have formal compostional training and write from instinct too but my voice is def. not as distinctive as yours! Henry

Thanks so much for listening! I'm really pleased you liked my orchestration Mark, as I have no training in that area. Have uploaded the score now in its current state. Still need to add phrasing, dynamics, etc... Some of the alto flute part probably should by played by a regular concert flute, and I'm going to divide the cello score between celli and violas. (N.B. I used a string pad for that part in the rendition.) Not sure why the B flat trumpet has the same key signature as the non transposing instruments. Is that an error by MuseScore; or is that how it should be? I'm delighted you think I have my own distinctive voice Henry. Could be because I don't have formal training: so I'm mostly just writing from instinct!

Hey guys, thanks for your comments. Unfortunately I'm very busy at the moment and don't manage to reply faster, which doesn't mean I won't still find the time to read the comments. @BipolarComposer Thanks, I didn't know that Bruckner never studied composition. But it's nice to know that even someone without studying composition can achieve such a reputation. It's easy to feel incapable sometimes, but I think if one loves music enough one will always strive to improve and keep writing something new and improving. @Omicronrg9 I will upload the rest of the symphony soon so you can also see how the individual movements correlate with each other. However, I must say that I am not yet completely satisfied with it. I don't think the movements fit together as well as they could, but I never changes things after I finished a Symphony (I feel like that would make things worse). Instead, I usually write a new symphony in which I try to apply my newly learned knowledge. I notice how I learn and get better with every piece I write. So far, however, I have only been able to write a few pieces I was satisfied with in every aspect. But I upload the pieces in the forum anyways because I find such criticism (like yours) particularly helpful and this helps me to develop further. @PeterthePapercomPoser I am currently working on a few pieces in which I am trying to create clearer motifs and structures. When they are finished I will publish them here. I can't wait. Greetings Nico

Hello Guys, Here's my brand new symphonic music. I asked ChatGPT to help me to choose a topic to write a piece of music. It gave me a description of the music that I should compose. Here's the description: "Create a soundtrack for an epic adventure film that follows a group of explorers as they journey through a mystical, fantastical world filled with perilous landscapes and magical creatures. The music should capture the sense of wonder, excitement, and danger that accompanies the adventurers on their quest. Use a combination of orchestral and choral elements to create a sweeping, cinematic sound that will transport audiences to another world. In the opening section, use grand, sweeping chords and soaring melodies to evoke the sense of awe and wonder that comes with discovering a new world. The music should be filled with anticipation and excitement, hinting at the epic adventure to come. As the adventurers' journey through different landscapes, the music should shift to reflect the mood and tone of each location. Use dark, ominous chords and driving percussion to create a sense of danger and suspense during the more perilous moments, while lighter, more uplifting melodies can convey a sense of triumph and victory during moments of triumph and success. For the climax of the piece, create a powerful, triumphant section that uses a full orchestral and choral sound to convey the sense of achievement and triumph that comes with completing an epic quest. The music should be bold and triumphant, with soaring melodies and driving percussion that will leave audiences feeling inspired and energized. Overall, the piece should capture the sense of adventure and wonder that comes with exploring a new world, as well as the challenges and obstacles that must be overcome along the way. Use a combination of orchestral and choral elements to create a unique and captivating sound that will transport audiences to another world."

Hello. Very pleasant to listen to. At times, a little Brucknerien side! (Perhaps because of your occasional and very good use of descending steps). I listen in reading the score for my part but imagining what it could give live with an excellent pro choir. (and it takes a little imagination because hum... The samples used are a little stiff). In my opinion, it could work very very well.

Actually this will be a great challenge to train yourself as a professional composer. As an amateur one I can only write what I want to write, but as a professional composer especially with your musical style which is close to an incidental and cinematic one, you have to received commissions from producers whose voice and opinion will not be much different from the ChatGPT one as they are all very general and sometimes you won't even know what they want at all! That's great job done oliver! But I also know what Vince said as well. Able to compose with self-generated inspiration will better reflect you own selves and make more unique music. So it depends what do you want to do with your music actually! Henry

As I listen: First of all, really an exceptional achievement, with a mastery of the tool that gives a very convincing result. The music side of video games appears more clearly during the rhythmic part, with the percussion ostinato. And the climax seems to never want to fall back, when the vocal soloist seizes an Irish "cliché" melodic line, which she no longer wants to let go... And she stays there, probably raised, too brave to be credible (but it's not your fault, you had to attack the director. (who is he already? Chat GPT ??? But hey... he really doesn't have the meaning of the story this guy... Fortunately, he is well surrounded and has a talented composer to try to raise his level a little!) Then again and again, the choir, inflamed, possessed, in a great epic tutti (it's a word that often comes up in the director's mouth)... After my listening: I am not a specialist in the world of large blockbusters (even if I have my classics, but they are a little vintage now), but it seems that the specifications have been perfectly respected, and I suppose that GPT chat should be fully satisfied (hihi)! For my taste, perhaps (and this is only a remark without any value judgment, because I know the work represented by the slightest minute of music), a more restrained, quieter, or softer space would have been interesting, in order to restore the necessary scale of force. Like a return to calm before the big special FX part on a green screen. A way to also perhaps bring a little epic narration (this word always), which can be judicious in the music in the image. (Master Yoda could have said ( if he has not already said it), "strength exists only because sweetness there is"). Maybe just this about the music itself: I know that you have imposed an exercise on yourself (I do that myself and I understand you). And for that you have drawn from the tank of the genre, with the typical ostinatos, the solo that is epic and everything that follows. However, a small nuance on my part to say that I find that as soon as we hear this kind of tool a little too used, the vague idea of a cliché appears to me. (and I know, once again, that the cliché is also the purpose of your exercise). With your talent and mastery of writing, I want to hear even more personal things. Here it is... But I'm going to search, to find other things from you to listen to because it's definitely worth it. Come on, don't take my few irony traits or my little criticisms badly. I like to hear a beautiful realization and I assure you that it is very pleasant to listen to in context. In addition, your curiosity for GPT cat is quite understandable, (who has not tried to question the oracle gets up right away or is silent forever!).... K.

I tried two or three times before I get a good answer and a useable brief.

Wow - the ChatGPT prompt is really elaborate and drawn out! I don't know how ChatGPT works - did you have to ask multiple questions? Or did you get this whole prompt from just one query? I had a friend who asked an AI once (don't know which one) to give him a prompt for a musical composition and the prompt it gave was too detailed and involved and he didn't feel inspired to write anything so he just ended up asking me for a prompt instead and I was able to give him some music theory concept that inspired him instead. But I'm glad that this involved fantasy prompt inspired you and that you could work with it. Your sections of music really give the right impression for what the prompt said was supposed to be in the piece. It's amazing that it took formal structure of the music into account! Thanks for sharing!

I'm really glad you said this, because these are my thoughts exactly. Yes, it IS a mess, but I think you achieved a unique sound when writing this. It would be a good exercise for you to create a readable and playable score, while maybe amending some of the notes to achieve such a goal. Overall though, a dissonant yet controlled sound, just focus on making this something applicable to humans! (I know AI is getting very advanced, but they'll never be able to take away what music actually is... human expression 😄) Still, very fun to listen to 🙂

All comments welcome ... to respond/improve the work. Original composed 2020 - and expanded/tweaked this week. Mark

Hey Mark Cool piece you have here. At first I was going to say something about the "aimless" quality of the music, but after listening to it in it's entirety, I rather like the jaunty unexpected in the piece. Personally, I would have liked more lower notes to really utilize the darker texture of the viola, but that's just preference I suppose. It'd be very easy to amend this if a violin player ever wanted to help see a performance in this. Lots of color throughout, very cool music. Also, I've learned to take everything Henry has to say to heart; the man knows his stuff. 😄 Thanks for sharing!

ugh, bro, do you really want me to ruin your music for you? Lol, I have yet to dabble at your music, but I'd love to try out a few of your pieces. Your dedication to others' music is inspiring, and helps keep me motivated when I spend minutes to hours on someone's music and they don't return the favor. During those moments, I think of you. Thanks for being as awesome as your are, you may not know the impact you have here, but it's noticed by me for sure best mod team ever 😄 this is actually really cool to hear, I'm glad it had that impact on you. I felt a sickening pit in my stomach while writing this. I took your comment to heart on no.2, but just sayin', 5 and 7 are way harder 😕 My hope is that they all stay in the intermediate level. I think some things that are obvious aren't realized until said by another. This makes sense considering the feelings when writing this. I had the chords, then improvised the melody. Astute observation...Daniel you're so smart, it's like you're a physicist or something... Thanks @Henry Ng Tsz Kiu and @Omicronrg9, you guys are the best. It's like the most active members here are mods

Hi @olivercomposer, The opening certainly gives the adventure feeling. The opening harp is fine for me since harp is always overpowered no matter how hard the harpists pluck their instruments haha. I enjoy the brass calls and they are very beautiful. In 0:57 the journey through the magical world of Earthsea and Middle-earth suddenly turns into a battle mode which is abrupt for me and I hope there's more transition in it. It's quite typical for you to add the single female voice "aaa" in your music and I love that actually! It adds the epic feeling in a movie trailer. So this piece can be divided into 3 parts: opening adventure, middle battle and lastly the "aaa" part. I think it for sure matches the description by ChatGPT and nice job on this! Henry

Wow, this is such an improvement. Those runs in your 3rd piece are much better to listen to. It's amazing how a few tweaks can greatly improve the same piece!

If sibelius allows "hiding" stuff, then do the tempo changes you want and hide them. If you want to create a poco rit. you can manually add a tempo marking to each note (or each several notes, but the bigger the interval the more abrupt it will be) in order to get more accurate (Musescore 3 has a plugin to do so, perhaps sibelius has such function too). If the only issue is going back to the tempo, just leave that tempo marking there, hide it, and make a text in the appropiate place saying "a tempo". The text will do nothing playback-wise, but "playback tricks" have little to no meaning to a potential performer which will naturally understand the "a tempo" much better. Quite a dense explanation, sorry. Kind regards!!

Wave files are not supported right? I ask because you have put a drive link instead of uploading it here directly. I myself have never tried to upload a .wav but I suppose that it's not possible. Great sense of structure, great dynamics and instruments presence & prominence handling, great motives and specially well done transitions. The adagio is breathtaking though I expected you'd come up with a coda in the original tempo. I wish you would have come with more like the stuff in 1:40, it was my favorite part. You're truly good man, your pieces always ask to be listened again and again. Kind regards, Daniel–Ømicrón.

Cool piece! I think there is a rhythmic illusion in it. I feel like the first, syncopated notes sound like they're on the beat. Then, the 8th notes that follow in the left hand sound syncopated in comparison. I think if you wanted to keep the impression of the first notes being syncopated you should have placed some accents on notes that are on the beat to give the listener the right impression. It's the old story of - if everything is syncopated then nothing is (kinda). If it were my piece I would put an accent on beat 2 and 4 of each measure (even though they're supposed to be the weak beats). Both the 16th note runs and the left hand accompaniment could be better defined rhythmically if they were accented that way. Thanks for sharing!

This is a very turbulent piece, it's raging quietly, it's almost frustrating. Very precise scoring, though the whole piece suggested C minor and yet you decided to put no starting key. Regarding your last paragraph, and seeing that you have (I believe) uploaded the next prelude, I will assume you came back so welcome back ma dude. What to say about this prelude that hasn't been told already either by Henry or yourself? It seems definitely easier than the prior one, and it "strikes" much more directly than the first one. So in my opinion, this is my favourite out of the three, I still have the fourth one pending. Hopefully, not for long. The constant blur effect that you achieve and that is the key of this piece in my opinion is as distinguishable as the first motive on your first prelude. I'm sure they're gonna be a great series, they get better as a whole with each new prelude you make and publish. On a final note, the melody somehow preserves traces of that flow one has when improvising, at least in my opinion. Again, hope you're already back and in case you don't, hope your come back soon Vince. Kind regards!!

Hey Vince 🙂, I am so happy to see different styles in your installments of preludes. Lyrical no.1, Nocturnal no.2, Lamentable no.3 and now a neo-Bachian one. But I love how you use a prelude or toccata like form but using new elements in it even more: Syncopation all over the piece, unexpected and remote modulations, modal chords etc. For this type of writing it can be boring with the sameness of rhythm but you succeed in bringing drama in it with your great usage of harmonic chords and progressions, as well as refined usage of dynamics and cresc./dim. The dynamic usage reminds me of Bach's little prelude in C minor BWV 999. You even include the structural 6/4 chord but giving it new meaning and usage at the end and I love it! I notice how you love using the augmented chords in these four preludes, here e.g. in b.20, 33 and 37 and they are all greatly used to present that sharp and intense passages! I love how you use the ambiguity of augmented chords to modulate as well. e.g. in b.33 the augmented Bb-D-F# is used as the pivotal chord for G minor to modulate to B minor and in b.39 using that again but returns to G minor. Great! Thanks for sharing and I can't wait for no.5!! Henry

Dear @BipolarComposer, Etude 1: I actually have the same feeling with @chopin: those devilish semiquavers like the one ln b.4 LH and those chords really remind me the Liszt Sonata in B minor. Actually I enjoy the loud fortissimo in the recording as it IS that loud for me in that particular sonata. Etude 2: It should be "Andante" in b.16 haha! Etude 3: Not quite Eb minor for me but it's definitely fine! Pedagocially these etudes didn't differ much for me as they all teach you how to play the thick chords and octaves, even with the dynamic and mood changes. But the music itself is beautiful: my favourite one is probably the first one since it's the most devilish one! Maybe the DAW problem can be solved by your playing on them! The pedagogic aim of these pieces will for sure enhance with live recordings! Thanks for sharing! Henry

My favorite out of the bunch is your second etude, but let me go through each one. Etude 1: Just wondering if this was very loosely inspired by Franz Liszt's sonata in b minor? Maybe not, but the piece will definitely help someone learn how to play Liszt given how that composer loved his parallel octaves! I think that the very loud dynamics of your piano samples does your piece more of an injustice. Even if you mean to play forte, I would tone it down a bit so that the piano samples don't sound jarring. Etude 2: This one was my favorite, and I will tell you why. Your dynamics here are excellent, and you don't overdo it with the forte. It sounds more like a piano composition here, and I love it. You did a really great job making it sound as realistic as can be with these samples, and the musical expressions you create are fantastic! Great job on this one. Etude 3: Again, the forte does a huge injustice with your composition. The arpeggios at the beginning of this piece are jarring and sound almost unreal to the ear. But you can fix that very easily by adding articulations, tempo changes etc to simulate something that will sound more realistic. The thing that kills me is that your non forte sections are so good, and I know it has to do with the samples. Overall, your middle etude here is the winner, because of the excellent expression and dynamics of the piece. I think if you were to rework some of your sections to use mf to p, and only use forte sparingly, it will greatly improve the output and presentation of your music.

Hi @MJFOBOE, I like the harmony throughout the piece as it provides the loving but uncertain mood with those added non harmonic notes. The use of viola is great as well as I always love its high register which provides more tightened sound then violin. I love in the middle section when the viola and piano imitating each other, which provides contrast with the texture of the opening section. For my personal taste I feel like the opening section can extend a bit longer as I find the modulation to the C lydian a bit quick. Pedal markings can be added in the piano as some of the left hands notes can be difficult without pedal, eg b.6, 43, 45, 47, 49, 65-66, 84-85. Thanks for sharing, Henry

Yeah this is my favourite one of the three you have posted here! Muahaha, you can try to return by playing my piano pieces instead (Just kidding!) I play your pieces just because I find them beautiful and very enjoyable to do so! I have never cared about money issue at all for music since the enjoyment in music, whether it's playing, listening, composing or analyzing, is intrinsic and I don't want them to be measured by extrinsic money value at all! I am very grateful too to have discovered YC and meet you guys!!!!!!! Henry