Leaderboard

This was originally called four by a competition on a different discord server a few months back, but I will send this over here to see what other feedback I can get this piece was a team activity as that you had teams throughout three different rounds and this happened to be the first round, but also happened was that all my teammates did not contribute anything so technically, I was the only one to credit myself. Anyways, provided down below is the seiklios epitaph this is a very ancient piece of written music and by scholars was to be thought of the first written piece of music in the first composition the prompt said to write a prelude of five minutes, but given the opportunity, I made it a theme in variations, however, though it could still function as a prelude since prelude really means a opener or something that comes before something else meaning that this would make a great opener for a piano concert or for something to study It turns out I can't really put the image in here without extra work, but the one thing I had realized is that the theme is the first thing to be played quite literally without any variation Variations on an ancient song.mp3 Variations on an ancient song.pdf

Hello Markus, Thanks for sharing! It’s funny how this video also showed up in my feed yesterday! I guess that’s just how the algorithm works. The AI fugue is in fact pretty good—it’s way superior to others I’ve heard concocted by AI. For some reason, AI music fails to interest me, as well as AI literature/poetry. Perhaps that’s because I’m as interested in the human element and how life is translated, through the messiness of the creative process, into art. AI music seems to me like a regression, because it’s distanced another step from human consciousness, from those sacred limitations, needs, and inefficiencies that constitute humanity. So even if AI could create art technically at the level of Beethoven or Bach, I would personally remain unconvinced. It’s kind of like receiving a love letter, and learning that it was written by ChatGPT. It’s so disappointing. It’s just so… shallow. Some things are best left to the humans, regardless of technical capability—that’s just my two cents!

I agree with @Lithl that this is a piece that would really excel if performed in a noisy and crowded bar! It feels improvisational, and yet has very noticeable form. Clearly you put a lot of thought into this. The combo of improvisational sounds mixed with a crisp form and clearly thought-out main theme all combines to make this music really pop! I’m excited to check out the other preludes. Nice work!

That was a refreshing and magical piece. It does have that late baroque feel in its rhythm, but not as much in its harmony. I haven’t done an analysis of it, but just to my ear it has a modern quality. I think you make choices that Scarlatti would not have made harmony wise, and that makes this music sound very fresh, not at all like an impersonation of another composer’s style. This feels less like a sonata and more like a piece that could be part of a suite. Well done!

Hello A few weeks ago, I was discussing the characteristic features of the 20th-century neoclassical style. I wrote a short minuet incorporating these features. A playful style, based on the 18th-century minuet dance, with broken accents, clean lines, bitonality, unexpected modulations... MINUETO_luis.mp3 MINUETO_luis.pdf

Hello my friends! I’m happy to present my Binary Sonata No. 26 to you as well. I hope you enjoy it!

Thank you so much, my friend, for taking the time to listen to my Sonata and for sharing such beautiful and thoughtful words. I’m truly happy that my music gave you something meaningful and that the Sonata was able to bring you these feelings. That means a lot to me. ❤️

Hello my dear composers. Here my latest composition .6 Dances for piano . I hope you like it

In this video, we explore how to use unison and octave doublings when orchestrating a melody. You will learn how doubling a melody with different orchestral instruments can change its color, strength, character, and expression. We will explore different combinations of strings, woodwinds, and brass, and examine how instruments can be combined in unison and at the octave to create a richer, more powerful, and balanced orchestral sound. Free Download the PDF file: https://asgarzademusicschool.com/blog/orchestration-techniques-unison-and-octave-doublings-of-the-melody

Hi there! It's been a while, mostly because of internet issues. Hopefully everyone around here has been well :) I never share much about these, I figure I'll start trying to be better about that. Because of said internet issues, I started focusing on writing by hand, and it's been great. As I translated back and forth from paper to Sibelius, I felt my voice was more intimate and clear, without the possibilities of what a computer can do. Especially for dynamics, just reading the score without playback has been instrumental in getting better at envisioning dynamics. Maybe that sounds dumb, but it's been a plus in my new writing habits. I've actually more or less finished all of these (there are 24 in total), I've just been touching up scores. I'll probably give a few weeks in between each post, but the goal is regular posting. These preludes aren't preludes to fugues or any other planned pieces, but rather preludes to a future voice I'm always amending and crafting. I also think a prelude should be somewhat experimental, and with each one I've strived to have some interesting nugget to explore compositionally that I haven't before. With this one, No. 17, I wanted an abstract rhythm to be dominant, for the tonal center to be constantly moving, and a palindrome-like form as a structure. This is one of the strangest of the bunch, and as always, and advice or comments are welcome! I hope you enjoy 😁 Prelude 17.mp3 Prelude 17 - Full Score.pdf

Ok, since I did not post very well last time I am re-posting this. I made some changes to the piece and mp3 and am going to post the inspiration for this piece here: This is a piece adapted from my piano composition. I thought it needed more harmonies and motifs. It is inspired by any beloved person who lived a full life and died, and how others reflect on that life, sometimes with complex grief, sometimes with euphoric joy and hope. I picture the intro and coda as the sadness of the death, and the middle section as the whole of their life, mostly the good parts mixed with the bad memories, and the complexities of the grief people feel. Basically, it is the emotions in the life of a person and the emotions the grievers have when reflecting on the life. Woodwind Quartet.mp3 A Life Lived Woodwind Quartet Original Piece.pdf

I’m a big fan of this! You found that blend of dissonance mixed with traditional harmony that really does the trick. I admire your use of rhythm in the melody, and how it works in unison with the harmonic changes. Your piece does not feel like it’s trying too hard to be modern, but instead uses a bit of modern sound to express something poetic, while still maintaining a clean and apparent form. That’s the sweet spot! I would like to see a whole second part added on. The repeat of the waltz is great, but it makes my ear excited for part 2, just as a classical waltz might have part 1 and part 2, both with their own repeat signs. If you can develop these themes into a part 2, I think you’d really have a complete waltz. But even if you don’t, it’s still fine to listen to. Cheers!

@Grant Weep Thank you so very much, not only for your thoughtful feedback but also for taking the time to give this piece multiple listens. I agree that it throws a lot at the listener, and I also agree that it improves if you listen a few times. Often with pieces like this it can be tough to pick out the form on the first listen, and that can make it sound like a big pile of chaos. But once you start to pick out the main themes and the variations in those themes, the piece develops much more coherence. The fast pace and frenetic nature are intentional here. I wanted it to feel like it was racing at you. Thank you for giving this music your time. I do wish a real human pianist would play it. Though I can play piano, I am by no means a concert pianist. And frankly my interests lie much more in the composition space than the performance space. So I just don’t dedicate the time to practicing playing, but instead spend time practicing writing music. Therefore, I write music that I can’t play well. I wish I had more drive to practice performance, but it just isn’t my sweet spot. To answer your question, I compose a bit at the keyboard, but mostly I like to compose right into notation software. It allows me to try all kinds of iterations on the fly, though composing at the piano is also lovely, and sometimes much more free. Both techniques are part of the process. Thank you again for engaging with this! I will return the favor with your pieces!

You started composing when you were 6???? Also we're about the same age I'm 11

Hi @jejrekmek, This improvisation has a bluesy, jazzy, and avant-garde atmosphere. Also, those are nice chords. However, probably because of your creative outburst, this sounds unintentionally messy. Not gonna lie, in my personal opinion, I don't care which was intended or not, whether I find it interesting or like it. In that regard, I think your improvisation sounds nice and has an interesting style. If you remember how to play it, writing a piece based on the piano is going to be good. Finally, you listen to C418!? That's cool. I imagine then you like Aphex Twin, don't you? I actually love Messiaen so much, therefore our music tastes resonate a bit. Anyway, keep doing your style! Best, Lithl.

Thanks, Markus. This is certainly a hot topic right now. Astra is apparently phenomenal at things like mathematics, too, so it seems they’ve created something truly impressive. I was quite surprised when I listened to this piece; honestly, it surpasses some human composers. I believe that at this rate, AI will eventually reach a level indistinguishable from humans in certain respects. That said, for the time being—especially regarding counterpoint—humans still reign supreme, though AI’s pattern recognition capabilities are extraordinary. Pattern recognition isn't everything, of course, but for us humans, the structures and chord progressions of the music we’ve heard play a crucial role. For tasks with a defined "correct" answer, I think AI might soon match or even outperform humans. I think the real challenge lies in creating something truly new and creative. If AI development can successfully integrate with brain research on creativity, AI music might transcend mere industry and become a form of art in its own right. Of course, the future is uncertain, but it will be fascinating to see how things unfold. Best, Lithl.

Hey Tristan, Apologies for the late reply to your request for comments. I listened to the majority of it and evidently there is a lot to unpack. I see @MK_Piano has already done a great job with the technicalities and orchestration, and even made some voice leading suggestions where needed. I don't feel I can or should add anything further to that. I am, however, interested in your inspiration for such a mammoth of a project - what were your influences and aspirations? And how do you feel it fits together? My won impression is that, stylistically, it seems a quite erratic. With all due respect, the part writing and orchestration seems a little immature and makes me wonder whether you are ready for writing such a large scale work. That said, your harmonic progressions, in several places, sound influenced by the Viennese and proto-romantic schools. I am well acquainted with Mozart's piano concerto's, for example, and I heard some resemblances.

@TristanTheTristan and @MK_Piano , Here is an updated version of the wood wind quintet arrangement. Humoreske in B minor.mp3 Max Reger.pdf