Vonias

Thank you, ND. The saxophone was completely improvised. This whole song was improvised into creation. We recorded the sax first; just random, ugly, sounds that we were going to make music of, and also make beautiful somehow. Immanuel Wilkons Matte Glaze Is the current inspiration, and what I'm listening to. I also listen to Kamasi Washington, Patrick Bartley, and Emmet Cohen, among others. The track took over 14 years to make. It was first released as a single in 2014. The track began in 2010, then waited years for the rap artist to appear in my life. It was controversial for me. My family hated it; I became the Blacksheep, and everything you'd expect coming from a family that doesn't appreciate rap. It was primarily the reason why I made this song, so I wasn't leaving anything out. Oddly enough, when I released this song, several artists were boycotting their art because Obama was our president. It's a foolish thing to give up a precious gift for foolish reasons, and since - I have been producing rampantly to make sure that I'm not part of that. Anyway! This song describes the power of a really talented Sound Engineer, Andrew Uher. Working with him was amazing. We were both fresh out of college, with music degrees, and wanted to express further what we learned in music. I owe the mixing to him; he truly is a prodigy at his craft and knows his stuff, too! I invite you to really explore your colleague's talent and dedicate (this song really sat for years until completion) and believe in what you are doing in music. Keep at it!

On second thought, I'd rather not share how I wrote this. I'm afraid of becoming flamed again, or bullied. Maybe on the flipside?

I'll edit the post to include the process with as much detail as possible. I'm a bit winded by the work, so bear with me, while I "catch my breath."

Very well done! Thank you!

Ai was used at the very end after composing the work as post production. There's nothing easy about making music with Ai, just putting that out there.

I wrote a symphony that utilized a little bit of everything. The composition took 10 years to complete, and am very happy with it. It features areas around, Kentucky - mostly the pennyrile that holds a lot of pride in the area. The score is attached if you want to read along with the music. Pennyrile Suite_Harper.mp3 Pennyrile Suite_Harper.pdf

This is the best, Intellect! I cannot love it enough!

Thank you, sincerely, Interlect. This program has been a passion project of mine for the last 3 years. It began with a simple modulator, then transformed slowly to all the features on the site. No, it's not classified information. Since you asked nicely, I can tell you, actually! 😃 So, I've been following Ai and its strength is analysis, while its weakness is physics. Physics, is just not there yet. If you ask Ai to analyze anything, it will give you information that is great to bank off of and further reason with comparable inference. I made this program with Copilot, then Claude, then Perplexity, then Claude Code. Ai kept fabricating my findings with implementation; so if you want to make something like this, do it a day at a time. I didn't use any Altered Chords, but I did create a method that composes with serial intent. Check out the website. It has the ability to export to midi if you want to collaborate with me?

"Ambience," is a saxophone feature. The score is attached if you want to attempt the song. Ambience.mp3 Ambience_AltoSaxophone_Harper.pdf

Highly mesmerizing. Highly entertaining. Is this going to be a full fledged show?

"Archeangel," is a Fractal Fugue developed from my website: www.atonalfugue.net The matrix is: [0,2,9,3,7,11,4,8,10,1,5,6] It's based on, Webern's Symphony, which has no transformations according to my theory of matrix modulation. It moves at 30 BPM, and follows Mason's rules of composition, albeit serialism, at that tempo. Attached is a complete analysis of the numbers. You can tell, according to the galactic harmonics, how much thought was put into that matrix. I Joke. However, looking at the analysis, there are some interesting inferences: 64. GALACTIC FREQUENCY ANALYSIS ▸ COSMIC ACOUSTIC SIGNATURES Milky Way Frequency Drift....... 0.9305 Andromeda Collision Sonic Reflection 0.5836 Dark Matter Interaction Tone.... 0.2100 Supernova Remnant Frequency Mapping 0.3495 Pulsar Waveform Analysis........ 0.9389 Black Hole Sonata............... 1.0000 Neutron Star Collision Harmonics 0.2377 Galactic Echo Sonification...... 0.6505 This is what I'm jamming on now. It's said that we are composing the very thing that the universe's materials encompass. It's only fair to analyze it as such, too. I mean, we don't have to agree - there is room for independence in what I have to offer in the website. So, what do the numbers mean? Numbers, are often static. When paired with music, the numbers become realized through motion. In this case, as each number permeates through a representation of music, the numbers become more viable. That's expensive to convey, and data intensive; I guess it just means that the numbers are a symphonic glade of information that is easier to ingest than learning about it. I hope it sounds good, in any case. Based on the acoustic signatures, I can conclude that there is a weak correlation to Dark Matter, but there is a strong correlation to Pulsar Waveform Analysis. I do like the idea of Galactic Echo Sonification, in my music too. I hope you have fun with the website, empowering your music, too. Archeangel.mp3 Archeangel.mid WebernSymphony_Analysis_AtonalFugue.pdf

Yeah, but look at it like this. I copyright the music before entering it into AI. The AI creates a variation based on my music, therefore it is still mine. IDK, I try to make the AI music as identical to what I compose, too.

All that hurts logic, Interlect. If you overthink it too much, then yes the computer composed it. If I overthing too much, I'm left vulnerable to where people can steal my music and do whatever they want with it, because thus they've proven that I don't own it. See where the problem is? I'll go with the ethics class I attended, as it's more rational by that point to provide ownership to the artist. I also stand by my work.

I absolutely created it. In my AI ethics course, any user that creates with AI is the sole author. I'm also liable and held accountable if anything goes wrong, you know? But, if you must know, SunoAI had a hand in it, too. But then, that would be very confusing to give it to the robot. Think of it as a complement to the music I created. Thank you, @interlect !