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Not sure where you're based. In the US, courts require "meaningful human authorship" to claim copyright, not just human contribution. You did not author the final product, just the prompt. It is possible to claim copyright to your part, but not to the final recording. Suno may have granted you commercial license rights if you paid them extra, but that is not the same as being able to claim copyright. Also, after listening to music created with Suno like this, I'm always less and less worried about AI music taking over. The use of kitsch and corny elements are through the roof, seem to have no relationship to the genre/style of the original concept, and have a redundant, non-developing form. "In my AI ethics course, any user that creates with AI is the sole author." - I am quite curious as to what sort of unreliable AI ethics course would be promoting this, as it's standard knowledge that all writing, graphic, and musical LLMs are only possible because you are not the sole author.

Civilization 5 has some pretty sick music. This is one of my favorites.

Score:

Two movements of a separated work, feel free to give any critique! Pavane.mp3 Prelude.mp3 Prelude(L).pdf Pavane.pdf

Thanks, I'll try to utilize dynamic and add a better intro/outro with chord progressions on the next one. I do still have difficulty with left hand as it was not as agile as my right hand, and I kept play it safe by playing on a single chord with cadences. Changing tempo and key might still out of my ability to work with.

No worries, I appreciate the update!

Hi again, I wanted to provide an update. I have begun my annotations, but due to my schedule, it will be a few more days before I can confidently relay. I should have them by the end of the week if all goes well.

Hello @Grant Weep , thank you very much for this generous feedback! Oh, no, unfortunately this is no live performance and I am not playing either. The applause – I know that is somewhat embarrassing – is included for technical reasons only: I needed some „sound“ or „noise“ at the end of the video for the „outro“, i.e. when presenting the final slides and Youtube-cards. One the other hand, I had sometimes a problem that the video was stopped before the final chord if there were no such „trailing noise“. In some other of my videos I have chosen other „outro sounds“ which are perhaps more appropriate, such as the song of the nightingale or steps walking through autumn leaves or a street scene with an accordion etc. Haha, that’s interesting and funny! Since I’m not familiar with Pokémon games (or video games at all), this reminiscence must be completely unintentional. To be honest, I think I stuck very closely to my inspiration—namely, the fugato from Prelude BWV 852a—but if it’s not that obvious, that’s totally fine with me. And yes, I also particularly like the passage around 01:38, since that’s the section that really really brings some emotions of joy and summer – while the rest of the piece is much more melancholic. Thank you very much. I find this last paragraph particularly interesting. We’ve already had an interesting discussion here in the forum on the topic of “personal style”, and this kind of “personal voice” can only be perceived and evaluated by the listeners, not by the composer himself. And if you, on the one hand, find the harmonies somewhat “weird” or “unusual,” and on the other hand recognize them as rooted in traditional harmonic theory, I consider that a great compliment. I initially based my first steps in composition on the model of Bach’s contrapuntal works, but now, after some time, I greatly appreciate that my works are not (longer) considered as exercises in imitating Bach’s fugues, but rather reveal influences from other, more contemporary composers, without coming across as completely “atonal” or “destructive”. My compositional approach—that is, my method of working—remains contrapuntal and therefore very “head-heavy“, which may explain the “muted” emotional level (or, perhaps, it is a matter of my (German) nationality?).

Hello, This is such a delightfully bizarre piece. You got such a great touch...to make dissonant things sound good. Bravo. When I first listened to the piece, I didn't really get it. But the musical idea was memorable and stuck around in my head. Returning back after a few weeks, and I don't know...I think I get it a bit more now. My fav part is at 0:11. Those doted notes. I actually typed this comment, had to do some work, and listened to some Bartok while during the work and then suddenly heard that brief idea at 0:11 (your piece) in one of his pieces below at 0:42. I don't think it's "that similar", but your music makes an impression...which is a lot more than I say about some other music.

You're welcome! I'm confident in your ability with Ai and it will be very entertaining, too! My record label creates with Ai then we reproduce it with an actual band. It's a fun process! It's interesting to see what's possible with Ai then create the human composition in studio. It's somehow meaningful in that way. Do you create live versions of your Ai creations?

Hello, Looks like you are on the right track to composing music! You didn't really ask for any specific feedback, so I will just throw some initial thoughts that come to mind. The piece is sort of long enough (almost 2 mins) but doesn't really move too much from your chord progression. You mentioned something about "listenable". I mean, I only have 2 mins of material to work with. I hope that you aren't trying too hard to focus on playing it too safe. In my opinion, you really gotta take risks. I always remembered my second composition I ever did, I felt like it sounded weird and disliked it, but my brother really always encouraged me to go further with it, since he found it more "interesting" to listen to. Somethings to consider - adding intro/outro. Often times, adding some sort of development section really spices things up. It's no coincidence that most pop music these days might throw in a bridge right before the ending of the song. It's a tried and true formula. So yeah, I would really look at the structure of your piece, that's the main thing that really stands out perhaps as being next steps for you... One of the core compositional techniques is to be able change things. Change the rhythm? Change the chord structure? Change key even perhaps? Then you get into more abstract ideas...change the atmosphere/change the where the listener is listening/change the genre?? I hope you keep writing, cheers!

Maybe a little bit yes, I think most of what I write imitate or tries to imitate baroque style, even if I don't really intend it 😆. I didn't really knew how to write something longer/with less repetition on so short "theme", that was I think main problem here... If you could write, what could be done to achieve this, it would be very nice :)

The deadline is 10/30, so two weeks from now really. I am currently working the such optimizations you included above, as well as others (weird tempo/mood marks, slurs, consistent rhythms, etc.). I will post an updated PDF of such basic optimizations before the weekend. Your time and effort is greatly appreciated. In case you read this again, this files have been updated above

Mario Party 2 - Space Land: