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Hell yeah brother

How about we just ban AI and trust that people are honest, and if people find out that it's AI, they get temporarily banned. This way, people will be afraid to post AI content and not post any.

This is the first movement of my Spring Trilogy (March, April and May) from a full album by here presented cellist Bernardo Brizani, who selected four composers to create a full twelve-month cycle of seasons. The score already has all three movements but the recordings are presented on separate videos. This movement begins with slow, murkly chords in strings while cello shows a contrasting, arabesque-like energy. The middle part of the movement is a bit more agile and brighter in sound, while the ending returns to the initial mood. The music has neoromantic features but I do believe it is mostly in my own idiom.

Hello! I was working on a movement and I wanted to go for a lake-theme so I was wondering whether C or G Major sounded better for this. I also provided scores for each major key.

This is my second piece from the Spring Trilogy, April. It is the most easy-going of the cycle. It begins as a gentle waltz but it gets more energetic and drammatic. After a short recapitulation the piece ends surprisingly in dark contrast between bright pizzicatos and low, murky tremolos of the cello.

This is my "Three Sententiae for Glissotar, Op. 386", a piece I composed last year. The glissotar is a newly invented instrument that is a version of the Hungarian woodwind instrument "tarogato" but with the distinction that the notes are not determined by holes as in most woodwind instruments but, as in string instruments, by pressing the fingers anywhere in the range; and glissandos are possible. I had to create a new soundfont for it in order to be able to make this mp3 version. I have provided a description of 'sententia' as well as of 'glissotar' on the title page of the score.

And what makes your music so good compared to masters such as Mozart, Beethoven, Mahler, Prokofiev, Shostakovich, or so many great living composers? You must imagine that you are the best there is, the best there was and the best there ever will be...

I have moved on to Chapter 7 of Persichetti's "20th Century Harmony" which covers polychords. The prompt for the piece was "4. Extend the polychordal passage for piano:" Thanks for listening and I'd appreciate any of your comments!

This is the final draft of my best work up to date in my life, String Sextet in G flat major. Posts of seperate movements have been posted before and I'm not gonna repeat it here. If you're interested in the music details, pls check the following YCs: 1st Mov: 2nd mov: Here is the score and YT link of the work: String Sextet in G flat major.pdf Here is the structure of the work: (*denotes parts I love). The two movement structure is inspired by Mahler's 8th Symphony, so the second movement is proportionally much longer than 1st movement: 0:00 Opening credit and structure 0:11 1st Mov, 1st Part: Tao Primo (*3:35-3:47 nice bridge, **4:40-5:26 nice chromatics) 5:34 1st Mov, 2nd Part: Minore, a fugato, some little challenges (**9:40-10:10 nice retransition) 10:10 1st Mov, 3rd Part: Tao Return, a triple fugue and ending (falsely) (*11:45, **12:46 till the end) 14:48 2nd Mov, Lamentoso: Denial of Tao and realization of the realistic World full of tragedies. (*16:54, *19:11, ***19:44 sounds like my version of Bee's op.131 finale!, ***23:38-25:15 most emotional passage for me) 26:33 2nd Mov, Fugue a6: Objectification of emotions and reason. The most difficult passage for me to write technically but easiest emotionally. (**28:10-28:42 includes a 6 part stretto of 1st subject and a nice C minor modultation quoting my own Clarinet Quintet, ****30:07-31:27 a 6 part stretto of 2nd subject and one of my fav. section in the entire work with the very beautiful C minor passage, ***32:58-34:31 nice turn to pentatonics and nice disappointment) 35:03 2nd Mov, The Return. Start picking up the real self and soul and connect oneself with Tao, finding self equals to finding Tao. “I Six Books explain me and I explain Six Books (Lu Jiuyuan)”(*35:03-35:36 try to regain energy, **37:05,37:37,38:11,38:43 Nice color, **39:12 nice folk melody, ***39:15-40:15 Nice pizz.! And a very nice snap pizz! **** 40:46-41:46This passage leaves me in wonder. I don't know how do I compose this, **42:17-43:23 Nice appetizer fugato, ****43:24-44:53 Grand Climax!, ***44:54-45:41 Nice heterophonic passage which ignites my creative power for this movement, *****45:42 till end Pefect ending) This work was first inspired by Chinese Philosopher Tang Chun I's Realm of Heavenly Morality in his monumental book, The Existence of Life and the World of Spirituality, in April 2022. I wanna felt and descibed it hence I finished the whole 1st mov. I thought it's enough, until I met with my dedicatee Johnson, my respected philosophy professor Dr. Tao and my friend Merina in April 2023, and I knew it's not enough since without pain Tao isn't possible at all. After some painful incidents in 2024, I am finally able to finish the whole piece in March 2025. For me this work is about Tao, Tao lost and Tao regained. Since this would be the final post on the Sextet, please let me acknowledge people I would like to thank along my way of composing. This work is dedicated to and in memoriam Mr. Johnson Ho https://youtube.com/@beingintheworld?si=9Ch3hnk1UtluHTRF who sadly passed away in July 2024, and it's a regret the work couldn't be finished when he's alive. I would like to thank him for his great inspiration especially his postive way to deal with his illness. I would like to thank Dr. Tao, without his teaching esp. the one on the book Buddha-nature and Prajñā (?) did I realise the importance of pain and human suffering to morality and humanity, and probably won't have enough philosophical basis for this work. I would like to thank Mr. Vince Meyer @Thatguy v2.0, who acts as my musical Virgil, providing so many inspiration particularly in this piece's fugue and different motivic usage, and also make this great recording. Also, thank him for his encouragement when I kept saying I could never finish this piece. I would like to thank Dr. David Goza http://www.youtube.com/@David_Goza⁨⁩ ,without his videos on YT I would never able to improve my own writing. I would like to thank Merina, Yvonne, Arjuna @expert21 and Peter @PeterthePapercomPoser for staying with me in my difficult times. I would like to thank Mike @chopin for his idea to go back to medieval texture in the Return. I would like to thank Luis @Luis Hernández which helps me solve the harmonic progression btw tritiones. I would also like to thank my ex-boss's mistreatment, as she teaches me a great lesson and the pain helps me reflect a lot which shows here. Also, thanks to everyone who has listen to this piece before and comments, as they help me a lot. Thank you Young Composers Forum and @chopin for giving me a chance to grow musically. Thank you for everyone who has commented on the work's parts before, I especially love the comments by @Fugax Contrapunctus @Giacomo925. Last but most importantly, I would like to thank my mum and family. Without their love I would probably fall much deeper and won't be able to finish this piece at all. Thank you!! P.S. One interesting fact on the piece is that it stays longer in F sharp minor then G flat Major….. Henry

Me and the computer "wrote" this using quaternions where a = duration , b = pitch , c = dynamic, d = articulation.

I don't think we should be Draconian about policing this. I think the policy should be no posting music composed by AI, but I really think it would be a mistake to start policing and interrogating every post and assuming it's AI until proven otherwise. If there are indications that a piece might be AI (e.g. no score provided, telltale signs of Sonus, posted by someone with no prior history on the forum, etc.), then it makes sense to inquire further into it. But demanding proof of authorship from every composition would be a drastic overreaction to an issue that has, as far as I'm aware, only actually cropped up once here so far. I'm against AI compositions on the forum, but I'd rather waste my time once or twice giving useless feedback on an AI composition than chase real people who are posting real compositions off the site.

Seasons Greetings all! Here's a little something I'm cooking up for a concert next year. It's based on the Epitaph of Seikilos, which is the earliest surviving complete song. I tried to give it a flavour of Antiquity, and to create unexpected harmonies. Haven't come up with lyrics yet; though it will start with the original Ancient Greek text translated into English. Maybe my piano part is a bit too thin? Or perhaps I should keep it sparse? The notation is intended for midi, and I'll be adjusting the dynamics upwards by at least one degree for the musicians. When I make the final score, I'm intending to write out the spread stacked chords in full as arpeggios. N.B. Score updates will be posted further down the thread.