I once wrote on a forum that male composers tend to create epic music that gradually becomes louder and more intense until it reaches a climax, as a male orgasm translated into music. I expected to be kicked out, but surprisingly, my idea wasn't cons
I listened to your prelude in your playlist, but I didn't like it. So I looked you up and found your website, just to be sure I don't like anything you wrote. I like to be thorough. Then I heard your "Ho Chi Minh City for Ensemble". Now THAT I really
A year or so ago, I happened to be looking at old MIDI files and discovered something which went under the cryptic title GIT_NOCT. I have no idea why. Anyway, this turned out to be one of the first things I ever wrote and I put the badly played MIDI
I heard my teacher say that to a student who hadn't completed his assignment (a composition in Dorian mode) for the umpteenth time and this time used 'no inspiration' as an excuse. Inspiration is for amateurs.
I am posting an orchestration of mine here, intended mostly to initate a conversation about NPPE, which is the new software element of NotePerfomer that Arne Wallander introduced this summer with the free NP4 update.
The fuguists among us are well-acquianted with the traditional fugue devices: inversion, retrograde, augmentation, diminution, etc.. Back in Sep 2018, an idea -- probably a totally insane one; y'all be the judges -- occurred to me, that suggested an
Almost 30 members. it's getting busy here. I can't possibly remember all the names, let alone the things they stand for. Maybe I should put their photos on a whiteboard, like detectives do when they're trying to solve a crime. I will make notes like
Back in 2015, a bunch of us eclectic composers from the old forum got together to do a collaborative project: a set of variations on Bach's BWV 140. Each volunteer would take the theme of BWV 140 and write one or more variations on it, in any style,
It's not exactly weird, but I used to specialise heavily in retro chiptune-esque and electronica music for games. It's the one part of my skillset and musical approach that I've completely stopped working in - I still would if hired, but to be honest
Inspired by a brief chat I had with John Driscoll (but not linked to or aimed accusingly at his own recent post), here's something I do as standard: write the range at the start of choral works. I started merely because some other scores I studied di
I don't have any. I'm starting the discussion with the hopes that others do.
I'm trying to get back to writing in earnest, and I'd like to start working more in a notation program, for the ease of editing (no erasure smudges, you know the ones) and p
HS Tech gave me the idea. He wrote about keys and the colors they represent to him. I find it very personal because I would assign different colors to the keys. But there could be a common factor when it comes to the preference for certain keys. For
The title of a composition can be important. It indicates what the composer wanted to express. Although there is quite a bit of swindling going on here. Some titles are only given to a composition later and not even by the composer.I like to play aro
Recently, we discussed AI music generators. Today, there was an article in a so-called quality newspaper about new developments in AI. I wondered what all the fuss was about, so I had to try it. I had to dry my tears from laughing out loud and now I
I find this forum a bit confusing. It takes some time to get used to the nerdy approach, although it might just be me. I'm probably not the brightest bulb in this esteemed company, and I hardly dare to complain because Kristofer looks a lot like my o
Some composers are facing challenging times. Not me. I don't even write music for the public, and I don't require the income. Since my retirement, I've simply been trying to keep myself busy, especially during the autumn and winter months. I enjoy ri
