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Hello, all. Coming at you with something a little different for the event, but I hope you find it at least interesting, even if you don't particularly like it. I've basically decided to get really good at writing for strings nowadays, and since I'm mostly an atonalist, cello is the easiest since computers can't play that kind of stuff; the implied timbres are super important. So enjoy hearing me poorly play this miniature fantasia on Jingle Bells. I promise there's a method to the madness 😄

March of the Snowflakes is an orchestral miniature written in a quasi march tempo, inspired by the playful motion of falling snow. This piece was composed as a small seasonal contribution to the Christmas Challenge 2025. I would be very grateful for any feedback, comments, or suggestions. Thank you for listening and sharing your thoughts.

In anticipation for this year's Christmas Eve, I decided to try my hand at writing another religious motet. Considering the fact that the bulk of this piece has been composed merely in the span of yet another insomnia-driven bout of inspiration, perhaps its modest length may as well be a reflection of missed potential, as I reckon it could have been developed into a more complex structure should its latter half not have got stuck on a protracted pre-cadential spiral. Once again, just as with my previous vocal fugue, the main goal of this composition was to make the text as intelligible as possible (specially taking into account the musical history of such a well-known textual setting), that is, within the confines and constraints of an 8-voice motet. This has ultimately led to some interesting contrapuntal oddities which, despite the preservation of independent voice-leading and thorough avoidance of melodic and harmonic blunders, have produced a number of somewhat unorthodox unresolved dissonances throughout. Nevertheless, I believe such contrapuntal licenses are more than sufficiently justified given the scope of this piece, as well as the sheer volume and density of its texture all the way through. This piece was specifically conceived as a submission for this year's edition of the forum's Christmas Music Event, and shall be presented accordingly in its dedicated thread. YouTube video link:

I totally forgot I created this on Christmas Eve of 2024 for my YouTube channel. I demonstrate 2 melodies in 1. It's only 9 seconds, but might as well demonstrate Music Jotter with a little Christmas fun.

Among all the other previously published canons of its type, this one might as well have turned out to be the most demanding to perform, in no small part due to the choir's conventional maximum ranges being reached in at least three voices, including both soprano (C6) and bass (E2), making it no small feat to sing. The main lyrics would roughly translate from Latin to English as follows: "In the direst of circumstances the true heart of men shall sing with great hope of leaving behind a memorable life. Even death can conquer those whose memory lies in the glory of their good deeds." The coda, as per usual, reinforces the core message in a variety of ways. YouTube video link:

I come to you once again with my 12th Muzoracle casting! This time, Jen asked the Muzoracle "who, when, and where will I meet my soulmate, romantic partner?" (Muzoracle is a storytelling/fortune telling/divination tool similar to the Tarot card deck, but with cards with musical concepts and 12-sided Musician's dice and Solfege dice. Perhaps it may be thought of as a special musical Oracle card deck.) My interpretation of the cards and dice are displayed below. Since the casting featured two cards in the suit of Voices, I used a Soprano and an Alto. Also, there were three cards in the suit of Strings, so I used Violin, Cello and Guitar. Finally, there was a card in the suit of Percussion, so I used the Piano. I chose the Piano and Guitar because Jen has played these instruments in the past and she also happens to be an Alto. If you'd like to find out more about Muzoracle and how castings are interpreted go here: https://muzoracle.net/ This short musical interpretation of Jen's casting is about ~2 minutes long. Since the black 12-sided Musician's die landed on G, the piece is in the key of G which pertains to the throat chakra. I created the following melodic/harmonic underdrawing guided by the cards and the dice. Since the first card drawn was a Conductor of Voices card, I started with a lone soprano singing a chromatic neighbor tone to B, A#. The Violin and Guitar come in next since the Minor 2nd of Strings was drawn in the 3rd position. Following is the Alto which joins the Soprano since the Minor 2nd of Voices was drawn in the 4th position. Finally, the Piano comes in when the Tritone of Percussion card was drawn in the 5th position. The whole piece is repeated since the De Segno al Fine card was drawn in the 7th and final position. If you've gotten this far, thanks for reading! And I hope you enjoy listening to this short vocal chamber work I wrote to represent Jen's Casting. Comments, critiques, suggestions, or observations are of course, always welcome. Thanks for listening!

Hi guys! Hope you're all doing well. So, I wrote a poem two months back, and whilst I did, I also made a melody out of it just because lol. So, I thought it had the potential to become an art song, so I composed it. By the way, this song just contains the first stanza of my poem. Do you think I should make more songs for each stanza to do like a song cycle or something? Anyways, I sang this myself because I find vocal soundfonts to be... nauseating. Anyways, I am no singer, so try not to roast me too much for my voice lol. Do tell me how you like it, or if you have any suggestions.

So far it is very lovely in its Mozartian/early Beethoven ways. Perhaps the first movement I would not have made as long but tell that to the Eroica Symphony!. I'm also a sucker for lightweight farewell finales, it lifts the spirit.

Indeed. The similarity in timbre of instruments within their respective families often tends to muddle the trajectory of individual lines amidst the density of the texture, as has frequently happened in my keyboard compositions even for just 4 voices. But the human voice still retains that distinct timbral quality to it, somehow capable of preventing its integration into a larger choral whole from forsaking the uniqueness of its sound and the meandering of its melody. A testament, perhaps, to how vocal music was upheld as the most sacred during the Middle Ages and the Renaissance; not just because of the references to the purported sanctity of the natural human voice in the Old Bible and the Gospels, but because its endless versatility and potential in conjoining doesn't undermine the independence of each line nearly as much as it otherwise does for mere instruments. Thomas Tallis himself certainly took this to the absolute non plus ultra with his renowned Spem in alium, and yet, the fact that 40 voices singing simultaneously may still be perceived as individually separate with each listening instance still leaves room for even more ambitious polyphonic endeavours to be produced (although it would certainly be beyond overkill to even try). Thank you kindly as well! Though unfortunately I have bad news concerning the languages supported by the current version of Cantāmus: In any case, I'm sure a real choir would be far more adept at singing in Polish than the vaguely synth-sounding lyric renderings Cantāmus usually provides, though of course such an eventuality would come at a far greater cost. Perhaps an online choir with individual part recordings being carefully timed and assembled together might do the trick. Otherwise, a live premiere with a professional choir would be my best bet. Either that or browsing the Internet for competitors, of which I know none whose lyric rendering quality comes even close to that of Cantāmus.

Hi @PeterthePapercomPoser, thanks for the kind words. Yes, a lot connects to the original them in some way, but obviously in a way that's idiosyncratic to me, right? There are some very obvious things like this... ...and there are other pretty obvious quotes: mm. 17–18 are just the latter half of the main theme's antecedent phrase, mm. 19–20 are a condensed version of the antecedent as a whole (<E, G, C, D, E, F, (E,) D, G>), and the notes for the tremolo parts are the first three notes of the theme (<E, G, C>). But then there are just decisions that I made artistically. For instance, I think the idea that the main melody of the non-introductory carol can be condensed into a pentachordal diatonic subset with only one semitone is very fascinating, so I emphasized the semitone throughout my setting as like an opposite to diatonicity. So lots of semitonal dyads (both harmonic and melodic) all about. Sounds rough, which I like, and also meets the design philosophy. For example, passages like m. 16 where there are both ic1s and ic2s, which, to me, emphases that friction between the diatonic and chromatic. But, to be honest, I didn't think that hard about it, haha. Most of the time, I just kinda liked the dissonance 🙂 I think the fact that you can hear echoes of the original is way more interesting than having every single thing be attached to it. Thanks again for your eyes and ears!

Hi @Monarcheon! It's so smart and creativer for you to divide the original Jingle Bells melody to different segments and place between interlude passages like the tremolos. Those techniques like sul ponticello, tasto, vibrato and harmonics are really used with great effect, and as you say, the implied timbres are super important for this to really give a refreshingly new look to an otherwise clichéd melody! You are just too humble! Your playing is so good here and I promise I enjoy it wholeheartedly! Thx very much for playing this yourself, the computer rendition would be umch worse than your playing! Also, thank you for joining the event and becoming more active again in the forum! P.S. Honestly if Peter didn't sneak in giving you a badge first, I would give you one too! You totally deserve the "String Aficionado" badge! Henry

Here's my submission! Perhaps I should have waited till Christmas Eve for its publication, though in the end I reckoned the sooner might as well be the better. P.S.: I wholeheartedly agree with the distressing concerns brought forth by @AngelCityOutlaw regarding the AI-generated music submitted for this event. It should go without saying that allowing AI-generated material to be presented on par with compositions requering hours upon hours of effort and dedication could run the risk of severly undermining the legitimacy and ultimate purpose of these community events, not just on account of the frictions and controversies caused by the presence and promotion of AI-generated content, but also on a more fundamental level which has been thoroughly implied over the course of this discussion. Despite this, I firmly believe those who want to participate and submit their art should not hesitate to do so. Why let so much time, effort and dedication go to waste after creating a work of art that is in any capacity worth far more than mere AI imitations? My take is that we should not be deterred, but rather emboldened in the face of these dire circumstances we are living through, that we may adapt to this unsettling trend and make our art known regardless. In fact, that's precisely why I think it's more important than ever not to refrain from posting our own music, lest we inadvertently pave the way for more of this AI-generated music to claim our place. It is rumoured that the Dead Internet Theory may as well soon become an increasingly encroaching and inexorable reality. By refusing to yield to the tide and sharing more of our own creations, hopefully we might briefly forestall such a harrowing prospect for this tiny little corner of the Internet where so many creative wonders are being posted and discussed every single day. The point is not to force these AI-generated compositions out by decree, but to make it so that the abundant music produced by humans in this forum may flourish beyond the scope of neural networks being used as amoral tools or shortcuts to achieve similar results in appearance, yet severely lacking in personal significance, emotional depth or even a core message capable of steering the course of the compositional process. Banning AI-generated music will not ameliorate the problem at large, but composing music through righteous hardship might as well be the only substantial antidote against the proliferation and normalization of this kind of content. That being said, I'm certain this must be quite a difficult point of contention for the forum's staff to deal with and try to find a meaningful solution for, so I won't comment further on the subject matter. In any case, I hope whichever resolution or agreement is reached on this issue will allow the course of these community events to carry on peacefully and with respect towards the time, effort and dedication proportionally invested into each submission. It is good to know that this matter is being seriously discussed by staff and high-ranking members alike, and as such I would like to thank @Henry Ng Tsz Kiu and @PeterthePapercomPoser among others for their dutiful labour in calmly trying to sort out things amidst the heat of the debate.

Wow... Your voice is wonderful, I love the timbre and emotion in your singing. Don't be bashful about it! Do I think you should do more songs? Definitely :) Please keep writing and performing these, I had no idea I'd like your vocal music so much

I forgot about this, but may as well link the Christmas miniature I posted this morning.

Here's my submission!

Merry Christmas, dear fellow composers! This is my second (and „official“) submission to the YCF 2025 Christmas Event. It is a Christmas Pastorale played by a small Baroque orchestra with the typical instruments of shepherds, such as flutes, violines, a lute and a „surprise instrument“. Although the instrumentation is somewhat more colorful or mixed, I think the inspiration from the famous “Sinfonia” from Bach's Christmas Oratorio is easily recognizable. The piece is based on my Prelude in E major I composed four years ago, already having that Christmas Pastorale style in mind. I’m glad that I now could realize the orchestration and be able to share it in this way.

This is my first submission (of two) to the YCF 2025 Christmas Event. We are all awaiting (or at least the children do wait for) Christmas Eve. Since there are still a few days to go, the time should be peaceful and quiet – despite the stress and noise as it is in reality. Thus, the idea behind this piece is to imagine the night before Christmas, the church where crowds of people will gather tomorrow to celebrate Christmas Eve. The church is empty, or seems to be empty, but there are three musicians playing a piece that is reminiscent of either night music or a final rehearsal before the upcoming concert.

Thanks for letting us know this is AI generated / assisted. This is very catchy, and a fun, non typical style for a religious tune. Also, some nice lyrics you have.

This is incredibly coherent for 8 voices. Normally I would say something about the strict key, but in this case, it doesn't matter. This makes the few times you do change much more noticeable. Plus the musicality is in the voices! When I listened to this again without the score, the music became even clearer to me, because my mind was not overwhelmed by all those voices visually. This was absolutely beautiful.

This is my second (and „official“) submission to the YCF 2025 Christmas Event. Disclaimer: I must admit that my first submission „The empty church“ is based on the same material like this one, to be more precisely, it is literally the Basso Continuo part of this pastorale. Taking into account how many discussions arose concerning the usage of AI, I would be willing to withdraw „The empty church“ from the event on demand if anyone claims that he/she does not want to review the same material twice. However, I spent a lot of time in realizing the Basso Continuo part and now enjoy it so much that I have decided to give it its own score and video, making it a piece in its own right.

A piece with its own appeal. It reminds me of Satie in those broken open chords. I think the central part strays from his style. In any case, everyone can write as they please.

This piece is an exploration of how two vastly different spaces can inform each other and interact in a more indirect way. When a piece explores two textures, they’re usually interwoven with each other and provide contrasts throughout, but I was curious what would happen if I completely separated them from each other, and made one of them the result of the other. Thus, this piece resembles a becoming of a new sound-world from another, and is namely a kind of transfiguration.

I thought about the rain, it just so happens to have rained last night and your piece fits today's mood spectacularly? If you want to develop that streak further, look no other way than Takemitsu's Rain named pieces: Rain Tree for three percussionists, Rain spell for mixed ensemble, Rain coming for chamber orchestra, Garden rain for brass

Beast of a piece, let me know what you all think!

Reminds me of Disney, and of Delius' A Mass of Life:

Here is my first submission (of two) to the YCF 2025 Christmas Event.

Thanks very much to both of you for listening! I think overall I'm pretty pleased with the way it turned out. I'm especially pleased to see you say this, because I spent a fair bit of time not just writing the cadenzas but trying to get Finale to play them in a way that sounded human.

A speed composition i made. Any feedback is welcome. Thanks.(made in a few hours)

Still participating in this event as committed although I am quite busy lately lol

Hi all, As some of you may know, I am actively engaging in my composition project for differential festivals. For that reason, I want to adapt into different types of music and add more variety in my project. I chose arranging solo piece to orchestal music to 1) appreciate the style of the composer, and 2) hopefully benefit orchestral work listeners/ writers. Work orchestrated in this post: Piano Sonata in C major, Hob. XVI/50, L.60 Written c. 1794 by Joseph Haydn. This first movement - Allegro, was arranged by me. When I have time, I will share other movement. A side note, I only listened to the piano recording once before I decided to arrange it - perhaps it is a good thing in the sense that I got my interpretation different from pre-existing pianists Thank you for listening! Note: Attached original score for reference. HoYin

Hi @Fugax Contrapunctus! For me it seems like having the Soprano in such a high tessitura and reaching the high C (and ending on a sustained high C) is more demanding that the low E's in the Basses. I wouldn't hesitate to transpose this piece down a half-step if it were mine - the English Horn could still play its part. And the Altos could still reach the F#. From my cursory perusal of your score, I think every other voice and instrument could still reach their notes. Btw - I liked the coda and that you managed to end in the same key you began. Thanks for sharing!

Hi @MK_Piano! The 1st movement fanfare reminds slightly of one of John Williams' Olympic Fanfare and Themes. But on the whole it has a very wondrous and magical sound to it that I like! 2nd movement - this has a surprising Arabic/Egyptian flavor to it. It might be because the main theme has a certain similarity to James Horner's Danger Theme. 3rd movement - this movement depicting the prospect of liftoff is a great hopeful ballad (at least in the beginning). The inclusion of the U.S. National Anthem brings great nostalgia to the occasion. It's also quite action-packed depicting well the intensity and explosive process of liftoff. You have a great intermingling of themes from the 2nd movement - it's great when writing a multi-movement work that you get to make these big melodic gestures through thematic association. 4th movement - quite an eerie start that would be very appropriate to the weightless tumbling of the Apollo spacecraft towards the moon. I can feel the enormous blackness and loneliness of space in this music. 5th movement - this starts off quite menacing. If I didn't know any better I would venture to guess that the Apollo 11 spacecraft encountered some kind of dire emergency in space while trying to land on the moon. Nice minor version of the National Anthem! That's cool that you included the actual audio of the voices of the astronauts. The music after that is so joyful and transcendent but still has a touch of wonder and awe. Overall this is quite an accomplished orchestral suite! Great job and thanks for sharing!

Hi @Aiwendil! Surely, an accomplished classical Trumpet Concerto! It's both melodically satisfactory while providing the soloist an ample challenge and virtuosity. The cadenzas are well written as well! Not to mention they sound humanized rather than mechanical and metronomic. Cadenza writing is its own beast and getting a good rendering of a cadenza from a computer program is all-the-more difficult, but I think you accomplished it! Perhaps your 2nd movement could have been more challenging for the soloist, but that might have detracted from its great, stately solemnity. I think the 3rd movement is probably my favorite. It makes for a really great finale to the whole concerto. I played Trumpet for a short time before switching to French Horn and for me those high concert C's would definitely be too demanding. But the instrument is a higher C Trumpet so it possibly might be more feasible than on a Bb Trumpet. Also, it seems you do not exceed the high concert C anywhere, so it seems all-the-more practical. A professional virtuoso should definitely be able to play it, as I'm sure you well know. Great job and thanks for sharing!

@SeekJohn14v6 has also entered a piece which was created with the assistance of AI (Suno):

This is only an event and not contest. Lord Jesus will be happy of your service by clicking a button.

Damn… the theme sounds so cool and elegant! It has a sort of dark urban fantasy vibe. I could imagine a dark trench coat wearing protagonist looking for answers in a weird underworld (oddly specific, I know). Quite elegant, crunchy harmonies in there and the interplay of timbres between the instruments you choose is quite masterful. Loved it!

Thank you so much, Peter! I was kinda reluctant at first to perform this myself, given I knew almost nothing about vocal performance beforehand—so it’s a great relief to know that my singing skills are passable for a casual performance, haha! (It’s a good thing I took a week’s time to gain some vocal literacy and work a bit on my atrocious passagios, or I would have caused your ears to bleed lol) Regarding the clef issue, as per my knowledge, for an art song/lied, it is standard practice to write the voice part in treble clef notwithstanding the range of the singer. The reason is, most singers, with the exception of basses, have been historically trained to read music in treble clef, and are expected to transpose the part according to their respective ranges. For example, there is this song cycle by Beethoven called “An die fernen Geliebte” which is also primarily for baritone, but all the scores I have seen so far have had the voice part written in treble. Same goes for songs by Schubert. Another reason is to make the song non exclusive and meant for any singer of any range. At least that’s what I know. (Edit: Now that I did some digging, I learned that the treble clef convention I followed is a bit old-fashioned, and that modern art songs favour using a clear bass clef for baritones and basses. Anyhow, I kind of wanted the piece to not be exclusive to a particular voice range, so treble use is still justifiable given my case. Thanks for bringing this up. I learnt something new.) Your observation about my singing having a sense of Indian influence is actually very interesting! Although I am untrained in Indian classical music, my knowledge about it being mostly realised through a western lens or framework (even though I am Indian myself), I did grow up in a household where Indian folk and classical music were played almost everyday. So my baby brain might have picked up the way Indian folk melodies are ornamented, phrased, and contoured haha! It’s interesting to think about

Hey @ComposedBySam! Great piece! I think, even though you wrote the voice part in treble clef 8vb, I think the actual range of your voice reaches to the levels expected of a Baritone rather than a Tenor voice! The Tenor voice's lowest note is usually B an octave below middle C. While the Baritone (I am one myself) can reach all the way to G an octave and a half below middle C. So I think it would have been more appropriate to write the part in bass clef. Like Vince, I love your singing! I think just from hearing your voice and your style of singing and composing of this song, I can hear an Indian influence/heritage in it. I am also stoked to hear more of the stanzas of your poem realized in this way! Great job and thanks for sharing!

Hi @Monarcheon! At first I was very puzzled by this piece as it was very difficult for me to hear how it was at all related to Jingle Bells. But I have since listened better with the help of the score and I can confidently say that I do hear it. You have cleverly fragmented the theme and augmented each fragment into its own unique musical gesture. The extended tremolo on one note I perceive as a development of the basic repeated notes "Jingle Bells". While the tremolos between two different notes I perceive as a development of "Jingle all...". "...the way" is developed in measure 10. I maybe would have liked for the associations to the original Carol to be more obvious but you certainly bring your own particular style to the season! I love your setting of "Dashing through the snow..." in measure 23. Some of the remaining material still puzzles me however in how it is related to the Carol - did you take a lot of liberties with it? Thanks for sharing this wonderful recording! I think your performance is excellent and really brings out the unique creepy tone colors of sul ponticello and sul tasto and harmonics and tremolos all put together and what not - it's an extended technique frenzy! Makes for a particularly spine-chilling Christmas! Haha

This is definitely one of your more interesting ones. I like the rhythm you chose for the piano part, very neat, and I think it pairs well with the cello. I will note that this sounded more on the eerie side to me than on the romantic side, but I suppose that's the way the die rolled. Also, the way you end the piece, you leave everyone in suspense!

Lovely little piece. I guess I shouldn't be surprised that a chain of secondary dominants works so well as a fugue subject, but I think you bring out its fullest potential. It makes little moments like mm. 32–33 so lovely because it's so diatonic but keeps the spirit of the sequence. Really cool to see what parts of the theme you kept and selected in certain parts. I think m. 37 is the only bar that I'm not as big a fan of: the P5 (vaguely on ii?) into A4 (vii˚) feels a just the tiniest bit awkward because (I think? I've been having a hard time trying to think of a reason...) the third is neglected twice.

My submission for the event can be found here:

You can make your part writing fuller by making the bass more jumpy. Harmony could sound less thick if the movement if all the voices move smoothly by step. And although it is best to minimise the movements of the middle voices, you should try to make the baseline compete with the melody in grabbing the listener’s attention. This could be done by large emotional leaps downwards when the melody shoots skyward. Good contrary motion balance between the melody and baseline makes for a full sound. Second way is to add more passing notes in the middle voices to give some dissonance between strong beats—they make the harmony tastier. Also, suspensions can really lift up the voice leading. Third way is to make a texture, be it with figurations (as someone mentioned) or with simple imitative counterpoint in the inner voices. My advice is to try experimenting with articulations and syncopations with the inner voices (if you are writing for SATB, make sure it’s singable). Lastly, make sure the rest of the voices do service to the melody, in the sense that their rhythmic material and contrapuntal material are somewhat derived from or echo the essence of the melody in question. Same goes for the baseline. Happy composing!

Like this? I like how this sounds

Write the 2026 Mikrokosmos update we need :D

This is really smart. I instinctively am harmony first, but thats why its good practice to start with other facets of music for different pieces. Form first is great because most neglect it at first and it's the best cure for "gee what comes next"

But why covering basics would be annoying? 🤪 I myself, weirdly take form as my first approach to composing, but not harmony and counterpoint. Maybe that's why I have to write longer pieces instead of shorter ones now.

I don't sense this going astray at 4:37 that you seem to feel, personally. But you presumably have a better concept than I would of what the overall structure of the movement is going to be.

Greetings all! Hot off the presses, here is my latest piece, my Oboe Quartet in D, for Oboe, Violin, Viola, and 'Cello. It's in four movements and lasts about 17 minutes. I don't have any accounting for why I decided to write this piece. I was just sitting there one day after I finished a Divertimento for woodwinds and had let some space come between - several weeks without writing - and the idea for the opening movement came to me out of the blue. I started writing, and it came pretty easily. The whole thing took about a month intermittently. I'm a violist, not an oboist. A couple of weeks ago I made a post asking for some guidance as to the limitations of the oboe, and got some good answers. After doing some research on my own additionally, and checking with a friend of mine who plays Classical Oboe, I've made some calculated demands in the upper register of the instrument that I'm hoping won't be too taxing on a Classical instrument. It certainly should present no problems to a player on a modern instrument. I did my best to provide reasonable opportunities for breath - the last movement being the most demanding in this way, but circular breathing may be a good option - as well as quite a number of rests to allow the player to rest his/her embouchure. I've done my best without selling myself short, and I hope it shows. I hope you enjoy this. I look forward to your comments. Thanks! - Composed: November 13 - December 6, 2025 at Austin. - Instrumentation: Oboe, Violin, Viola, Violoncello. - Style: Classical, ca. 1790-1800 - Duration: 17:15 - Electronic Rendering by Finale 27 music notation software’s "Human Playback" with NotePerformer 4 artificial intelligence assisted interpretation.

I actually quite like the strength of the motif for this minute and a half. It just really makes me want a B section. Often times in the renaissance, when there was a crazy polyphonic repetitions like this, they would do 1 of 3 things. Either have another polyphonic section in a different mode, have a more declamatory section of text, which would often be in a "double choir" setting which was back and forth between two homophonic sections, or an outright homophonic section. I think each of these would work really well. Heres an example of Lotti moving from a incredible thick reptitive canon-like polyphonity into a triple-ish choir: https://youtu.be/OZ9dXLmRlpo?si=LaAY263rsR4sFO6x And Gesualdo into a more homophonic style: https://youtu.be/TBC-45-FfVQ?si=Kmqmee2Ldr9aPlYU&t=131 And most was just more polyphony.