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Pacoleo - El Castillo de La Asomada Hello. This is the first original piece I’ve composed for piano. I also mixed and mastered it myself in my DAW, so any constructive feedback regarding the composition or the music production is welcome. Synopsis: A composition for solo piano inspired by the castle of the same name, built in the 12th century. This nationalist-style piece reflects the strength and vigor of its builder (Ibn Mardanish, “the Wolf King”) by combining elements of Spanish nationalism and Islamic tradition, which are in turn embellished by impressionistic coloristic techniques. Thank you for listening.

This piece confuses me... Why are there 3 violin parts and not just 2? 2 violin sections, 1 viola section, 1 cello section, and 1 bass section is the norm. Writing for nonstandard ensembles is fine, but using a standard ensemble, in this case string orchestra, but with minor ordering differences just 1. makes it look like you don't know what you're doing (and you demonstrably don't) and 2. makes it significantly harder to have your piece performed. Who's going to have a string orchestra with 3 violin sections? No one. Why are there numbers all over the page? Roman numeral analysis is for... well, analysis. You don't include it in a score, and the other numbers I guess might be for figured bass, but that's not how you do that? Learn how to do something before doing it is generally a good rule of thumb. The instruments are not written for idiomatically. Those leaps in the violin in the middle of the piece are way too big. The soprano part is also WAY too hard, even for a professional soloist. It has super technical and absurdly fast extended passages in the very high range. If you gave this to a soprano, she'd would absolutely refuse to do it. Some of the harmonic choices are also odd. You seem to be wanting to do an imitation of a renaissance style, but it's just not achieved very well. It lacks the right harmonic language. I'd expect more raised leading tones, piccardy 3rds, etc etc. There are people on here that are much more familiar with this style that may be able to provide more specific feedback, but it sounds very messy to me, not elegant like the music of the time. Finally, the music doesn't match the text at all. The text is beautiful, solemn, contemplative, and the music just isn't. Why? I sing gregorian chant for a TLM parish, I'm very familiar with motets and liturgucal/sacred music, and this just isn't something I would choose to include at mass. I wouldn't even include it in a secular program. It's just not that well put together or though out. I would take more time to study the ensembles and instruments you write for, including vocal ranges. Also look into studying counterpoint, doing species counterpoint exercises, and harmony of the period. Studying galant schemas might also be beneficial for you. And most importantly, study scores! If you don't know how to notate something, reference a (modern print) score. Clearly you are amateur and young (young composers, haha) so don't worry. You will improve, probably quickly, but you need to spend more time studying theory and practicing with study pieces and exercises.

I present to you my next cantata - "Laudate, pueri" (Ps 112) for tenor, flute and basso continuo consisting of 6 parts. It's rather short and for small ensemble, but it has a chance to be played in real life - until then computer playback will be added. It's meant to lighter than my previous cantata, with more concertante technique used... The first part is a dialog between two soloist, the second (and fifth) is tarantella-like with basso ostinato. Third and fourth i wrote what I had on my mind XD. Fifth is fugue (or fugato to be exact i think) with soloist doubling the theme entries. Any tips and feedback welcomed! Laudate, pueri.pdfLaudate, pueri.mp3

Hey Tunndy, Some feedback: I like the beginning: the rhythm, the darkness, really cool! Bars [7-10], really not my favourite section. I like the change of tone bar 28. I agree with Tristan that having forte everywhere would deserve a bit of nuance... In general, in enjoyed it, thanks for sharing! Julien

Now, it's a time to help someone who wants to discover music - since I was helped by YC members a lot :) I have some examples that would be up your alley. Ludovico Einaudi: Moments of Peace Nils Frahm: Felt Ólafur Arnalds: Trance Frendz Hope this post helps you, have a wonderful musical journey and welcome to YC! Best, Lithl.

I have things that were started and put in the drawer 15 years ago that I still plan to get back to. We are fortunate to have so much more time (probably) than composers of the past, thanks to progress in medicine and public health. Eat your broccoli, take your time, and with luck we all may eventually have a few pieces that we are really proud of.

I YT search your Professor's name and find this one: A wonderfully contemplative piece! Not that atonal to me haha. Henry

Haha, indeed, we are influenced by what we listen, we all are... Nevertheless, I would definitely encourage you to continue the journey, and exercise your composer skills on this work you started, by introducing some melodic phrases. My (limited) experience in composing clearly shows that the journey is hard, but really fascinating.

Wow... Thank you very much. I had this "theme/figure" in my head for so long and it felt familiar, but I didn't know where did it come from, so I thought it's mine :D. Now I know, so I think there is no need to reinvent the wheel (especially by Bach), so I better leave this theme to Him, cause he just does it better :) It's really interesting how we can subconsiously "compose" something already made

Hi @islav , compositions such as yours is one of the reasons why I am keen to be part of a platform like youngcomposers: your work is really novel and inspiring. I didn't like everything, otherwise the many changes of rhythm in the melody, as well as the many strange and unexpected dissonances make your piece very coherent. Things I didn't quite like (really personal taste): bars 7-9 were too mellow for me I felt like the end was too abrupt, and didn't really go well with the piece I felt like the trill was used a little too often (e.g.: bbs 58, 67, 69...) Things I particular liked: the transitions in bar 20, bar 39 or bar 53, really surprising and somehow relaxing the rhythm pattern you regularly use, e.g.: in bbs 43-45 Thanks for sharing and continue the good work! Julien

@Henry Ng Tsz Kiu, your composing story is lovely - I feel your deep care for your compositions, I can say that taking such a long time to compose certainly paid off :) Well, as of yet, I've never taken time to compose over one week and a half per work. The reason is that if I take a lot of time, I can't complete them, or rather, I move on to another project. Taking a lot of time for composing brings about failure. It turns out recently that my composing style is like "on the spot of imagination", I mean composing if I have a clear vision. This style enables me to create pieces without losing my passion and complete them. Oh, if you consider mixing as compositional time, it would be more than that time because I usually revise mixing after I make a track. Good and curious topic, Grant, thank you. Best, Lithl.

Hi, thanks for listening and commenting. Well, I’ve actually finished the project now. For one thing, I currently prefer to compose short pieces that express exactly what I want and nothing more; I’m not interested in writing extended works or anything like that. It’s just a personal preference right now. The Cantai app has evolved a lot during this time. They introduced what you mentioned: choral masses. And also other languages (Latin, English, and Spanish for Dorico). Although I had to uninstall the update and reinstall the previous version because the new version wouldn’t let me mix English and Latin. Once I finished this project, I installed the latest versions. In the end, there were about seven pieces: prelude, introit, Kyrie/Tuba Mirum, Lacrimosa, Sacrifice, Sanctus, and Libera Me. The texts are taken from classical Latin and all those Romantic poets, Joni Mitchell, and a poem by a dear friend.

Thank you Lithl! They are all good :)

Hi Wieland, This mix of fugal and dissonances is quite unusual (to my ears), but really enjoyable. As already mentioned by others, the contrapuntal material is really interesting, well done! The end in particular (starting from bar 91), I really found profound and full of emotion. And after 3 listenings, I found the orchestrated version: WOW !!! The only criticism there is that I find it a little "too diverse" in instrumentation (if that makes sense). But really: well done, and I liked the Parisian feeling (I really felt I was in Montmartre), which is in line with Paul Verlaine's theme! Did you get any prize for it in the end ;-) ? Cheers, Julien

Score:

I get what you mean :), I made this version of the "score" for myself so I already know how to interpret it but if I wanted someone else to do it I would tell them to interpret freely! I think same goes for the poem, it doesn't mean anything clear and different people will interpret (or recite if we want to compare to playing) it in different ways.

Oh, all right. I also see graphic scores as something like that, but as a composer, you have to be prepared for the fact that the interpretation of these scores can vary greatly from one performer to another. The thing is, some people believe that a graphic score is a kind of PRECISE set of symbols indicating exactly what should be performed. Well, that’s not my idea of musical indeterminacy. The beauty lies in allowing interpretive freedom and giving weight to the performer(s).

Hi I think it's a very interesting piece with an intimate feel to it, which I really like. When it comes to graphic scores like this, I don't have much to say because everyone interprets and works with them however they want. For me, that's an added element of interest.

This is a very interesting idea for a project and something I think many choirs would be interested in performing! Was there a reason you particularly wanted to restrict yourself to "calm, short pieces?" I'm curious what other texts you are thinking of incorporating; these first two are certainly a good start! It's a shame that Cantai doesn't give the vocals a more monumental sound, but it's still helpful for a sense of how everything goes together. I particularly like the little harp arpeggios for their sense of wonder. I'm not sure you need to specify the number of choral singers on the first page of the score. Instruments are good at being loud, so choirs that work with orchestra are good at maintaining membership big enough to balance orchestral forces. And the choral singers generally aren't paid, only instrumentalists and vocal soloists, even with major orchestras. So usually the paid orchestral parts are the only ones given a number of players needed. Nice!

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.

Hello. This is my first post here, presenting hopefully the first of many sacred solo motets and religious pieceso vos omnes sheets.pdf. I am very inspired by the italian masters Antonio VIvaldi and Federico Maria Sardelli. This is a sacred solo motet for soprano, strings, and continuo based on the Latin Vulgate translation of Lamentations 1:12. I really wanted to capture the raw and shocking horror of the suffering and death of Christ, the Son of God for the sins of men. The same shock that Dell'Arca captured so masterfully in his statues of the Lamentation for the death of Christ. Hopefully my work has served that well too. O vos ómnes qui transítis per víam, atténdite et vidéte: Si est dólor símilis sícut dólor méus. Atténdite, univérsi pópuli, et vidéte dolórem méum. Si est dólor símilis sícut dólor méus. English Translation: O all you who walk by on the road, pay attention and see: if there be any sorrow like my sorrow. Pay attention, all people, and look at my sorrow: if there be any sorrow like my sorrow. O vos omnes- M.M..mp3

Ok, so to help you understand what I'm trying to say, I've copied and reworked the first 18 or so measures with tonal music theory in mind whilst trying to maintain a baroque aesthetic. Notice in my rework what I have done. This is how I would have done these first 4 bars had I written this piece. I have relabeled the Roman Numerals to better reflect the harmony that you suggested (which was simply i-V65-i). Also notice I have included dynamics at the beginning of the piece, as well as a metronome marking, and I've nixed the solo violin as I felt it was redundant. I have revised the second violins to not interfere as much with the first violins; see how they overlap much less. This provides melodic and harmonic clarity. Look also how the bass line now has the scalular run in melodic minor, which means it includes the leading tone for F-minor, making the tonic feel stronger. I also made the beginning of the 2nd bar in the bass an E-natural to bring about better harmonic clarity (dominant chord in first inversion). Finally, notice how at the ends and starts of each new measure, the lines cadence to each chord with smooth voice leading. This next system had a very nice sequence over the circle of fifths. The biggest changes I have made was to raise the leading tones, which makes the harmony clearer. I have also changed the Roman Numeral analysis, since much of the harmonies you analyzed would actually not be functional. This would simply be labeled as a sequence. The next system felt imbalanced because of the premature resolution. I decided for this example to extend the dominant pedal, and I believe it had a great effect. I also adjusted the harmony to better reflect what you implied, which would be some augmented 6 chord (your analysis said VI and then later, VIb5, however, the functionally since it leads into the dominant, it would be augmented 6. In the second one, there was no flat 5 present, instead the 5 was actually raised, making it a Germain 6 chord. In the future, be sure you understand chord functions.) Here I have continued to adjust the notes to match the harmony you implied. In particular, I found the parallel 4ths to be problematic and changed them to parellel 6ths. Finally, here I felt that the music began to lose momentum, so I simply cut out a few bars. Note the entrance of the soprano has a dynamic marking, and it appears above the music. This is so it doesn't interfere with the lyrics. Also be sure to divide the syllables properly and know that the "____" marks the ends of words being sung over multiple notes, and the "-" only occurs between syllables of the same word. Your usage of both of these is very inconsistent and unclear. And note how I simplified the line to make it slightly easier to read and sing. The rest of the piece has similar issues throughout. In terms of playability, I have already explained that the soprano is too fast and intricate and especially goes too high for this speed. Here is a great chart for vocal part ranges. choral-ranges.pdf Slightly simplifying the melody, especially removing the appoggiatura, should help. As for the violins, you mentioned they may go too high in some areas. They do not, the range is fine. What bothered me were these huge leaps. However, having checked with a violin player, these are actually doable. The changes I've made are obviously free to take what you like and discard what you don't. The important thing to keep in mind is that the music has proper voice leading, and clear harmony. My revision does improve it, but there are other ways to improve it besides what I did. Just remember to study voice-leading and harmonic function more in depth, and you'll be golden OVosOmnesReworkAndAnalysis.mp3

What version of Sibelius are you using? I'm using Musescore 3.7 Evo and for me it's just a simple "small" checkbox 😬. Last time I used Sibelius was 10 years ago or so. Can relate to this. Happened in some sonata of mine, I just don't remember on which one lol. Best regards!

"This is one of my adagios. I’m purposely not posting a YouTube link and sharing a Spotify link instead, because I feel that this music doesn't really need visuals and it's better this way. The translation is not mine as I don't speak English, but I hope my thoughts are conveyed accurately. "For those who don't have access to Spotify, I am uploading the MP3 file here." B1 (Op.39 Adagio E-moll).mp3

thank you！

If you can appreciate atonal music, you might want to try listening to my professor's music. He is Serei Zsolt and he has YouTube recordings of his music. It might seem boring at first but trust me if you can feel it you will.

Maybe tomorrow (it’s 2 AM where I live) or maybe I won’t. A more in depth harmonic/voiceleading analysis is quite an involved and time consuming process, and I am very busy as it is. I will try to find the time though.

If you could graciously with your time outline any areas in particular where you feel the harmony is incorrect or not servicing the piece or elements that could be reduced I would greatly appreciate it. I am a young composer still learning.

Firstly I appreciate greatly the feedback given. It was not intended for there to be 3 violin sections but rather 2, with Violin 1 being a soloist which is evidenced I believe with the middle section where it is labeled solo. Perhaps I should have written Violino Principale for greater clarity. You correct on the roman numeral usage which I had to track where I was harmonically. I am aware that isn't included in a final score. I realize my compositions with vsts and seeing that I had not yet included a keyboard accompaniment I decided on "cleaning it up". I also thought it would better help with any feedback or critiques to show more openly my thought process. The other numbers are not figured bass. They are merely scale degrees which like the roman numerals helped me track my harmony/motifs. As for the rest you may be very well correct. I did hope the bass line at least is written idomantically or certain antiphonal elements in the violins. I will agree that my violins may have reached too high in some areas. And for the vocals I may have leaned to heavily into a violinistic approach. The harmonic langauge was not an attempt to imitate the renaissance style. Simply what I have observed from Vivaldi's and Sardelli's violin concertos and vocal works. As for the text I explained my intentions/desired effect in the description of the post. I understand the main presentation for this text and would agree my approach would likely not fill well in a mass setting. Perhaps it is far too extreme but I did wish to lean into a more operatic approach and my background is mainly with vocal synths(Vocaloid, Synth V) so my ear may be too accustomed to harsher music.

Hi @Josquins turban , I tend to agree with MK, it's a little too repetitive, even if the patterns you chose, and the harmonic progressions are nice. It somehow reminded me of Prelude No.6 by Bach - BWV 875 --> if you don't know the piece, check it out, it's interesting how much variety of rhythms and melodic materials he can use. This can definitely give you some hints. If I had to elaborate on your work, I would typically introduce some slower melodic material in bars 4, 12... before returning to your transition material (yes, I think that's my feeling, you have good transition material, but I don't feel there is a theme sticking out...) Thanks for sharing and do share the evolutions, I'm keen to see how you've decided to make it evolve! Julien

Sad to know there's an end! "If I'm going to give a deadline to our love, I hope it will be 10 thousand years..."

I was just playing around/jamming a bit to your tune and at 0:19 it seems possible to perhaps change the left hand into C major chord, though you may need to change a few right hand notes if you want to "fit" the new atmosphere. From there, you could do something like F major, followed by G major and back to C major. This would sort of fit the whole i IV V thing you got going in the A minor key. If you want to get really fancy (keep in mind my music theory may be not the most accurate here)...I sometimes think of the ii chord (D minor of C major as a substitute for F major. So you could add that in, though I'm not sure if that works for your piece. Sometimes, making the F major (the IV) into a minor, so F minor sounds good. I tried jamming to your ideas a bit with the F minor and it sounds okay I think. Then you have to make a decision...to stay in C major or return to A minor. You could play G major if you want to stay in C major, or get the E major going, if you want to return to A minor. Sometimes it's fun just to switch the key suddenly and without warning (my hero Schubert does it often), so you can just slightly randomly turn the A minor into A major if you wanted for fun. A more advanced idea would be to switch the key using one note that it's same (I didn't do this on the recording). So if you are playing like an A note over and over...A is also in F major and also in D major, so you could sort of just "slide" the music into those slightly more unrelated keys that way too. Voila! You instantly have variety. I recorded myself noodling around a bit so you can see. I'm just an amateur composer, and I'm sure that you can get much more "precise" and robust feedback from others on the forum. Example.mp3

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 :)

Greetings! This is the recorder consort version of the before mentioned madrigal, the reason why i instead am posting the recorder version and not the vocal version is because i have to use an AI to render my madrigals and vocal pieces, and sometimes it doesn't sound good, so that's why i choose to post the recorder consort version, enjoy!.LOB 133 O cruel fate!.mp3

This is a quite small and simple pavane i made some time ago listen to Pierre Phalesè pieces, i hope you guys enjoy it, i might compose a galliard to accompany but i'm not sure yet! by the way, the instruments are not bound by their physical limitations, in this case, this shawm consort can't reach some notes i wrote. The reason why is because it's the soundfont that fit best for this piece. LOB 126 Padovana Antiqua.mp3

Hi, welcome to the Forum! Not only as a composer, but as a harpsichordist, I find that there is too much of the same for too long. Essentially, a lot of repetition and not enough imitation/ independence. However, before I go on to elaborate, was it your intention to imitate baroque style?

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

Hiiiii Firstly, this is not 'cute' lol. I realized you definitely thought of the Rachmaninoff Moments-Musicaux for the start, that famous one Lugansky is famous for playing. (E minor one). You also used the polonaise rhythm. Nice. Next, this piece is overly forte-based, there is not enough quiet. Also, bar 39 is very good. I love that progression, but liszt would do something like Sfz there, and then the run down it starts slow but then speeds up all the way to A Tempo. Additionally, your themes and ideas are very restricted, if that's the right word, by the lack of interesting dynamics. Moreover, as someone with perfect pitch, you can really change the ending key signature as you are in 3 sharps while i heard Bb Minor (5 flats) and G minor (2 flats) I would say this has some potential, if you extended it and vary ideas, but for now, it is not performable, and even if it is playable and some distinction, it wouldn't be the best pianist experience. Good luck! -TristanTheTristan

Hi Thatguy. I like the contrast between the arpeggiated chords and the almost solo voice passage. Both of them combined act as the structural pillar of the piece in my opinion, and you make good use of them. It may be true the midi doesn't do it justice. Engraving-wise I'd suggest putting these wide arpeggios in small notes so it's even clearer where the molto rubato acts and where the piece gets a bit more rigourus in tempo. I don't quite get the switching between Db and C#. Why is that? That aside, the prelude works for me but it wasn't my cup of tea compared to other preludes I've listened from your list. It's soft indeed and pleasant to my ears, especially the middle section in which the (1) seems to wander around chords. How many preludes are left? Or are they not gonna have a set end? Best regards!

Mario Party 2 - Space Land:

I first encountered this work by Pärt as a teenager through a music teacher. The purist in me for tonal & well balanced music would usually have me running for the hills from this thing; yet I am captivated by it for the mad comedy Pärt produces here. I consider it a kind of trolling of epic proportions and he no doubt had much fun writing it. It is also fascinating to read the score alongside the music to see how the sheer chaos is actually written. At face value it seems much of the chaos is somewhat improvised with a little guidance. It is definitely art; but this kind of art doesn't usually undergo repeat performances!