These are just random notes at this point

.15 Properties of WHOLENESS.

Strong centers -- Boundaries -- Interlock and Ambiguity

Contrast -- Non-Separateness

Local Symmetry -- Levels of Scale -- Positive Space -- Void

Simplicity -- Echoes -- Gradient

Good shape -- Alternating Repetition -- Roughness

Sequence

...You are welding...

(Consider "Shuffling" suggested corresponding properties to apply at different
stages)

_start with good, strong steel_

- takes
- sounds
- words
- feelings
- melodies
- harmonies
- rhythms
- find the essential elements (consider loudness, interest, etc.)
(Strong centers -- Boundaries -- Interlock and Ambiguity)

_clean your parts, prep your parts, square all of your angles_

- edit takes
- accentuate/embellish melody arrangements
- voice-leading, etc.
- make sure all of the parts occupy their space, or enhance a space,
- strong centers, prune if needed
(Contrast -- Non-Separateness)

_make good welds_

- good material prep -> good welds -> easy cleanup

- clear headspace, clean ears, reference track
- keep your eyes on the whole, don't mix in isolation
- more simple / natural maneuvers are generally better
- connect various sections, differentiate sections)
(Local Symmetry -- Levels of Scale -- Positive Space -- Void)

_grinding and paint_

- get yourself in the general ballpark, and then worry about details
- work quickly at first, then massage things
- Don't second guess yourself, generally
- check your reference often
- you're not going to make fundamental changes at this point,
- but you can do some dazzley effects on top of the foundation)
(Simplicity -- Echoes -- Gradient)

_Ship it_

- carefully packaged, containerized or

- contexualized in relation to what's around it,
- mastered among other items, even if only reference
- competitive loudness
- tags, "Promotion," any additional layer of remix
- SERIOUS album art with good design
(Good shape -- Alternating Repetition -- Roughness)

Get used to thinking about drum fill patterns, builds like that, happening in
layers,
building slowly like chord progressions, developing. Laying back now and then.

Now realize you need to balance these supplementary movements against one another
like good counterpoint -- vocal adlibs / processing, object affection, atmospheres,
etc.

Spectrum:

some instruments are so detached and solitary that they float off in space,
seeming to just "appear" in your ears (or the environment)

<<===-===>>
other (maybe just one, especially vocals) seem to inhabit every part of
the space, or even come to define the bounds of the space itself

Before starting work:

Edit and release renoise videos
Write 3 songs
Sort out finances and bills (inventory -> payment)
get back car insurance
get financial advisor
Majorly clean and re-arrange the house
autotune chord changes / chord scales

Instruments, functions, sounds, areas of dominance

shapes, centers supporting centers

simultaneous centers
centers in rhythmic arrangement
(i.e. think 808 as kick+sub, they make one unit by complimenting one another)
(same thing with drums and accented noise, or other ways of de-coupling transients)

Vocal dimensionality____
"technical qualities" vs. "aesthetic qualities"
"raw" "in situ" "studio"
"reverb" "spatial" "convolution" (mixing varieties) (send vs. output)
"digital" "hard panned" "time clipped"
"distortion (several)"
"filtered"
"artificial/overdub doubled"
"chorus flanger phaser"
"processed into instrument"
"pre-verb" (itself processed)
"pitch modulation"
"ring modulation" "allpass filter"
"delay" (slapback, dancey, godly, pandemonium, rate-modulated)
"stereo widening"
"harmony"

"autotune dimensions"
"note hang" "glide time" "detect time" "amount"
"wet dry mix" "autotune doubling
"scale" (static, changing, non-octaving, live note input etc.)
single-cycle, no fx <--- ---> Complex VST cross-modulation

as single instruments (viewed apart from post-processing like delay and reverb
groupings)

There's also the dimension to these complex sounds -->

samples/sound
"Received" "Found" "Sought-after"
"Personal" "Created" "Accidental"
"Elegant" "Contrived" "Profane/Vulgar"
"blackbox/vst" "self-bespoke"
"convoluted" "processed" "raw"

sequencing
"grid" "simple rhythm" "subdivision layer"
"melodic / rhythmic" Counterpoint
machine time vs human time

1. Simple Monophonic Sounds

1.1. Monophonic Chiptune Sine Wave

1.2. Bitcrushed Square Wave Lead
1.3. Simple White Noise Crash
1.4. Basic Organ Sound (Sinewave Based)
1.5. Monophonic Sawtooth Bass
1.6. Simple Beep Sound

2. Basic Polyphony and Simple Sample Manipulation

2.1. Polyphonic Chiptune Square Wave Chords

2.2. Basic Amplitude Modulated Organ
2.3. Sampled Acoustic Guitar (Raw)
2.4. Polyphonic FM Bell Sounds
2.5. Simple Sampled Kick Drum
2.6. Basic Digital Choir Sound

3. Moderate Synthesis and Layering

3.1. Analog-style Polyphonic Synth Pad

3.2. Layered Sampled Orchestra Strings
3.3. 80's Style Synth Drum Kit
3.4. Moderately Complex FM Bass
3.5. Layered Synth Lead with Chorus Effect
3.6. Modulated Organ with Rotary Speaker
4. Advanced Synthesis and Moderate Sound Design

4.1. Complex Wavetable Synth Lead

4.2. Granular Synthesis Textured Pad
4.3. Layered and Processed Percussion Sounds
4.4. Advanced FM Synth with Modulating Operators
4.5. Sample Manipulation with Time Stretching and Pitch Shifting
4.6. Layered Analog and Digital Synth Sounds

5. Complex Layering and Advanced Sound Design

5.1. Additive Synthesis for Complex Evolving Pads

5.2. Spectral Synthesis for Creating Textures
5.3. Layered and Modulated Wavetable Synths
5.4. Complex Processed Drum Sounds (Granular Synthesis)
5.5. Multi-Timbral Synth Composition (Different Sounds on Same Instrument)
5.6. Resynthesized Acoustic Sounds with Complex Processing

6. Hyperrealistic and Physical Modelling Synthesis

6.1. Physical Modelling of Acoustic Instruments

6.2. Hyperrealistic Virtual Analog Synths
6.3. Complex Physical Modeling of Percussion Instruments
6.4. Advanced Granular Synthesis for Complex Textures
6.5. Multi-Layered Physical Modelling Synths
6.6. Hybrid Synthesis Techniques Using Multiple Synthesis Methods (FM, Additive,
Wavetable, Subtractive, Granular, etc.)

1. Basic Waveforms and Simple Noise

1.1. Chiptune Triangle Wave, No Vibrato: Pure and simple waveform, no modulation.
1.2. Square Wave Bass: Another simple waveform with a bit more harmonic complexity.
1.3. White Noise Hi-Hat: A basic noise-based percussive element.
1.4. Pulse Width Modulation (PWM) Lead: A single waveform with a modulation
parameter changing over time.

2. Modulated Waveforms and Sampled Sounds

2.1. Sinewave with Slow Vibrato: A simple waveform with slow frequency modulation.
2.2. Sampled Acoustic Piano: A recording of an acoustic piano.
2.3. 808 Drum Machine Kick: A simple synthesized drum sound, typical in electronic
music.
2.4. Sawtooth Wave with ADSR Envelope: This more complex waveform has a time-
varying amplitude shape.

3. Layered Sounds and Simple Subtractive Synthesis

3.1. Layered Square Wave Chords: Multiple square waves playing at once, with more
harmonic complexity.
3.2. Subtractive Synthesis Lead: A more complex waveform is created by filtering a
harmonically rich source.
3.3. Subtractive Synthesis Snare Drum: A complex, noise-based percussive sound.
3.4. Layered Sampled Strings: Multiple samples played simultaneously for a richer
sound.
4. Advanced Subtractive Synthesis and FM Synthesis
4.1. Subtractive Synthesis with LFO Modulation: Filter cutoff or other parameters
are varied over time with an LFO.
4.2. Simple FM Synthesis Lead: One oscillator modulates the frequency of another,
resulting in a more complex sound.
4.3. FM Synthesis Drum: Percussion sound generated using frequency modulation.
4.4. Subtractive Synthesis with Oscillator Sync: A slave oscillator is forced to
reset its cycle, creating complex harmonics.

5. Complex Layering and Wavetable Synthesis

5.1. Wavetable Synthesis Pad: A waveform is chosen from a precalculated table, and
can morph over time.
5.2. Layered Subtractive and FM Synthesis: Combines multiple synthesis methods for
a complex sound.
5.3. Wavetable Synthesis Drum: Percussion sound generated using a wavetable.
5.4. Granular Synthesis Texture: Sound is made from many small grains of audio,
leading to complex textures.

6. Advanced Techniques and Physical Modeling

6.1. Additive Synthesis Lead: A sound is built up from many individual sine waves,
allowing for complex, evolving timbres.
6.2. Complex Wavetable and Granular Synthesis: Advanced use of wavetable and
granular synthesis methods.
6.3. Complex Breakcore Drum: Rapidly changing, highly processed and layered drum
sounds typical in breakcore music.
6.4. Complex Physical Modelling: Detailed simulation of a physical object to create
sound, such as a string vibrating.

1.
single-cycles / noise

2.
pretend PWM
sparse modulation (envelope, static filter)

3.
basic sfz
one-shots
moving filter/modulation

4.
basic FX send
proper subtractive synthesis
break / dynamic samples

5.
intermediate FX send
basic wavetable / FM
purity

6.
advanced FX send
physical modelling
advanced wavetable / FM

Complexity of instrument / timbre

Complexity of post-processing / grouping
Complexity of programming / note-information

Octet 1:
End-blown flute
Membranophone
Plucked lyre
Struck idiophone
Bowed monocord (single-stringed instrument)
Hand percussion
Free-reed instrument
Ceramic flute

Octet 2:
Bowed zither
Vessel flute
Struck membranophone
Slit drum (wooden percussion instrument)
Stringed tube zither
Overtone flute
Natural trumpet
Shaken percussion

Octet 3:
Bowed lute
Panpipe
Struck zither
Bamboo flute
Friction idiophone (such as singing bowls)
Jew's harp
Percussion beam
Horn (brass instrument)

Octet 4:
Bowed lyre
Thumb piano (lamellophone)
Side-blown horn
Wooden xylophone
Plucked tube zither
Udu (percussion instrument)
Double-flageolet (double woodwind instrument)
Percussion sticks

Octet 5:
Bowed harp
 Bone flute
Tuned gongs
Plucked fiddle
Rattle (percussion instrument)
Slide trumpet
Box zither
Goblet drum

Octet 6:
Bowed wheel fiddle
Recorder (woodwind instrument)
Struck tube zither
Wooden fish (percussion instrument)
Melodica (free-reed instrument)
Lamellophone
Rainstick
Transverse flute

Octet 7:
Bowed kantele
Whistle flute
Struck dulcimer
Bamboo xylophone
Plucked psaltery
Wind chimes
Hand drum
Natural horn

Octet 8:
Bowed chime
Overtone harp
Glass harmonica (friction idiophone)
Plucked monocord
Metallophone
Slide whistle
Shaker (percussion instrument)
Clapper

Octet 9:
Bowed idiophone
Tin whistle
Sanxian (plucked lute)
Sleigh bells (percussion instrument)
Bells (struck idiophone)
Wooden trumpet
Kouxian (plucked idiophone)
Djembe (hand drum)

Octet 10:
Bowed reed instrument
Bamboo trumpet
Plucked dulcimer
Struck lute
Metal tongue drum
Whistle (aerophone)
Gongs (struck idiophone)
Cajon (percussion instrument)

Octet 11:
 Bowed panpipe
Glass flute
Struck harp
Plucked wheel fiddle
Tuned metal bars
Oboe (double-reed instrument)
Frame drum
Aerophone (wind instrument)

Octet 12:
Bowed tube zither
Clay ocarina
Struck lyre
Plucked chime
Tuned wooden bars
Serpent (brass instrument)
Tambour (hand drum)
Vibraslap (percussion instrument)

Solo instrument:
Plucked zither (a type of stringed instrument)

Duo instruments:
Reed flute (a type of woodwind instrument)
Frame drum (a type of hand-held percussion instrument)

Trio instruments:
Bowed string instrument (such as a violin or cello)
Hammered dulcimer (a type of struck zither)
Double-reed instrument (like an oboe or bassoon)

Quartet instruments:
Aerophone (wind instrument with a vibrating column of air)
Idiophone (percussion instrument that produces sound by vibrating itself)
Brass instrument (like a trumpet or trombone)
Free-reed instrument (such as a harmonica or accordion)

Quintet instruments:
Struck idiophone (like a marimba or xylophone)
Bowed lyre (an ancient string instrument)
Pan flute (a type of woodwind instrument)
Membranophone (percussion instrument that uses a stretched membrane)
Lute (a plucked string instrument)

Sextet instruments:
Ocarina (a type of vessel flute)
Hurdy-gurdy (a string instrument with a wheel that bows the strings)
Claves (a pair of short wooden sticks struck together)
Chordophone (a string instrument)
Tambourine (a type of hand percussion instrument)
Conch shell (a natural wind instrument)

Septet instruments:
Kantele (a plucked string instrument)
Shakuhachi (a type of end-blown flute)
Finger cymbals (a type of percussion instrument)
Didgeridoo (a type of natural trumpet)
Handbells (a type of struck idiophone)
 Zither (a type of stringed instrument)
Tabla (a type of membranophone)

Octet instruments:
Bowed psaltery (a type of zither played with a bow)
Ney (a type of end-blown flute)
Maracas (a type of shaken percussion instrument)
Harp (a plucked string instrument)
Cornet (a brass instrument)
Mouth harp (a type of lamellophone)
Frame drum
Bagpipes (a type of reed aerophone)

Nonet instruments:
Dulcian (a type of double-reed instrument)
Sitar (a plucked string instrument)
Castanets (a type of clapper)
Steel drums (a type of idiophone)
Crumhorn (a type of double-reed instrument)
Side-blown flute (a type of woodwind instrument)
Timpani (a type of membranophone)
Angklung (a type of shaken idiophone)
Tuba (a brass instrument)

Decet instruments:
Hammered dulcimer
Bowed string instrument
Reed flute
Frame drum
Double-reed instrument
Brass instrument
Lute
Kantele
Ocarina
Maracas

Undectet instruments:
Chordophone
Zither
Ney
Shakuhachi
Conch shell
Didgeridoo
Pan flute
Handbells
Mouth harp
Tambourine
Dulcian

Dodecet instruments:

Bowed psaltery
Harp
Hurdy-gurdy
Cornet
Bagpipes
Castanets
Steel drums
Timpani
Angklung
Tuba
Tabla
Finger cymbals

Ensemble 1:

High-pitched string instrument (e.g., violin, erhu)

Low-pitched string instrument (e.g., cello, sarangi)
Plucked string instrument (e.g., lute, pipa)
Percussion instrument (e.g., tambourine, tabla)

Ensemble 2:

High-pitched woodwind instrument (e.g., flute, piccolo)

Low-pitched woodwind instrument (e.g., bassoon, duduk)
High-pitched double reed (e.g., oboe, shehnai)
Large percussion instrument (e.g., timpani, kettle drum)

Ensemble 3:

Plucked string instrument (e.g., harp, kora)

Low-pitched woodwind instrument (e.g., clarinet, tarogato)
High-pitched brass instrument (e.g., trumpet, cornet)
Low-pitched brass instrument (e.g., tuba, euphonium)

Ensemble 4:

High-pitched string instrument (e.g., violin, rebab)

Low-pitched string instrument (e.g., viola da gamba, kemenche)
High-pitched woodwind instrument (e.g., recorder, bansuri)
Struck idiophone (e.g., xylophone, balafon)

Ensemble 5:

High-pitched string instrument (e.g., violin, fiddle)

High-pitched brass instrument (e.g., trumpet, bugle)
Low metallophone (e.g., glockenspiel, gamelan)
Membranophone (e.g., snare drum, dhol)

Ensemble 6:

High-pitched string instrument (e.g., violin, sarangi)

Low-pitched string instrument (e.g., cello, esraj)
Low-pitched double reed (e.g., bassoon, mizmar)
Hand percussion (e.g., castanets, cajon)

Ensemble 7:

High-pitched woodwind instrument (e.g., flute, dizi)

High-pitched brass instrument (e.g., trumpet, nafir)
Low-pitched brass instrument (e.g., trombone, sackbut)
Struck idiophone (e.g., marimba, ranat)

Ensemble 8:

High-pitched string instrument (e.g., violin, kamancheh)

Plucked string instrument (e.g., lute, oud)
Low-pitched double reed (e.g., contrabassoon, sorna)
Large percussion instrument (e.g., timpani, nagara)

Ensemble 9:

High-pitched woodwind instrument (e.g., flute, shakuhachi)

Low-pitched woodwind instrument (e.g., bass clarinet, tárogató)
High-pitched brass instrument (e.g., trumpet, bugle)
Hand percussion (e.g., tambourine, pandeiro)

Ensemble 10:

Plucked string instrument (e.g., harp, guzheng)

High-pitched double reed (e.g., oboe, suona)
Low-pitched brass instrument (e.g., tuba, serpent)
Membranophone (e.g., bass drum, tapan)

1. High-pitched plucked zither,

low-pitched bowed string, and
conical-bore double-reed wind

2. Struck wooden idiophone ensemble,

high-pitched aerophone, and
medium-pitched fretted lute

3. Electric keyboard instrument,

low-pitched membranophone, and
high-pitched free-reed wind

4. High-pitched plucked lute,

medium-pitched fipple flute, and
low-pitched struck metallophone

5. Low-pitched resonator guitar,

medium-pitched cylindrical-bore single-reed wind, and
high-pitched hammered dulcimer

6. Low-pitched strummed zither,

medium-pitched bridge-harp, and
high-pitched end-blown reed flute

7. Medium-pitched fretted neck lute,

high-pitched trapezoidal zither, and
low-pitched conical-bore brass instrument

8. High-pitched bowed string,

medium-pitched idiophone ensemble, and
low-pitched end-blown flute

9. Struck pitched percussion ensemble,

high-pitched double-reed wind, and
medium-pitched plucked string instrument

10. High-pitched struck idiophone,

low-pitched brass instrument, and
medium-pitched free-reed wind

11. Low-pitched plucked string instrument,

medium-pitched fipple flute, and
 high-pitched bowed string instrument

12. High-pitched aerophone,

medium-pitched membranophone, and
low-pitched resonator guitar

Royal Procession

Suggested BPM and meter: 40 BPM, 4/4

Length of composition: 24 bars
Sections:
A (8 bars): Majestic opening with rich harmonies and gradual crescendo
B (8 bars): Softer, contrasting section featuring a lyrical melody
A' (8 bars): Return to majestic opening theme, ending with a strong cadence
Function: Entrance of royalty or nobility in a ceremonial event

Meditation Prelude

Suggested BPM and meter: 45 BPM, 3/4

Length of composition: 36 bars
Sections:
A (12 bars): Serene, flowing melody over a slow, pulsating drone
B (12 bars): Development of the melody with added ornamentation and harmonic
complexity
A' (12 bars): Return to the serene, flowing melody, resolving to a peaceful
close
Function: A prelude to a meditation session or spiritual ceremony

Sunrise Dance

Suggested BPM and meter: 60 BPM, 6/8

Length of composition: 48 bars
Sections:
A (16 bars): Gentle, rising melody evoking the gradual emergence of the sun
B (16 bars): Lively dance section with syncopated rhythms and playful interplay
between instruments
A' (16 bars): Return to the gentle, rising melody, culminating in a bright,
climactic ending
Function: A dance performance during a sunrise ceremony or celebration

Ritual Fanfare

Suggested BPM and meter: 80 BPM, 2/4

Length of composition: 32 bars
Sections:
A (8 bars): Bold, stately fanfare with punctuated rhythms and strong brass
accents
B (8 bars): Contrasting section with soaring melody and lush harmonies
A' (8 bars): Return to the bold, stately fanfare, building to a grand finale
Coda (8 bars): A final, extended cadence with a triumphant ending
Function: Opening a significant royal or state ceremony

Courtship Serenade

Suggested BPM and meter: 50 BPM, 3/4

 Length of composition: 48 bars
Sections:
A (16 bars): Tender, romantic melody with delicate ornamentation and a gentle
accompaniment
B (16 bars): More passionate and expressive middle section, exploring richer
harmonies and dynamics
A' (16 bars): Return to the tender, romantic melody, ending with a sweet, final
phrase
Function: Background music for a royal or noble courtship scene

Sacred Chant

Suggested BPM and meter: 30 BPM, 4/4

Length of composition: 40 bars
Sections:
A (10 bars): Ethereal, modal chant with a rich, resonant drone
B (10 bars): A more rhythmic and ornamented variation of the chant, adding
harmonic depth
A' (10 bars): Return to the ethereal, modal chant, with a sense of resolution
and peace
Coda (10 bars): A final, slow crescendo and decrescendo, fading into silence
Function: Accompanying a sacred ritual or religious ceremony

Moonlight Nocturne

Suggested BPM and meter: 55 BPM, 4/4

Length of composition: 56 bars
Sections:
A (14 bars): Mysterious, nocturnal melody with shimmering accompaniment evoking
moonlight
B (14 bars): A more expressive and emotional middle section, exploring darker
harmonies
A' (14 bars): Return to the mysterious, nocturnal melody, with added layers of
texture
Coda (14 bars): A gradual decrescendo and slowing tempo, creating a sense of
tranquility
Function: Music for a nighttime ceremony or event under the moonlight

Harvest Celebration

Suggested BPM and meter: 70 BPM, 6/8

Length of composition: 64 bars
Sections:
A (16 bars): Joyful, lively dance theme with a strong, infectious rhythm
B (16 bars): Contrasting pastoral section, evoking the abundance of the harvest
season
A' (16 bars): Return to the joyful, lively dance theme, with added layers of
instrumentation
Coda (16 bars): A spirited, accelerating finale, culminating in a triumphant
close
Function: Music for a harvest festival or communal celebration

These forms provide a variety of structures and moods for your new-age/high-court
compositions, with
suggested tempos, meters, and lengths to fit within the 1.5 to 3.5-minute duration
you specified.

Long Forms:
 Royal Ballet Suite

Suggested BPM and meter: 75 BPM, 3/4

Length of composition: 180 bars
Sections:
Prelude (30 bars): Stately, elegant introduction with a rich harmonic
foundation
A (30 bars): Graceful dance theme with delicate ornamentation and a lilting
rhythm
B (30 bars): Contrasting, more introspective section with a lyrical melody and
flowing accompaniment
A' (30 bars): Return to the graceful dance theme, incorporating variations and
new instrumental colors
C (30 bars): Exuberant, lively dance with lively rhythms and spirited interplay
between instruments
Coda (30 bars): Grand, extended finale, combining themes from previous sections
and ending with a flourish
Function: Accompaniment for a royal ballet performance or dance showcase

Ceremony of Light

Suggested BPM and meter: 45 BPM, 4/4

Length of composition: 240 bars
Sections:
A (60 bars): Serene, slowly evolving melody with shimmering accompaniment,
evoking the gradual rise of the sun
B (60 bars): Warmer, more expressive middle section with richer harmonies and a
broader dynamic range
A' (60 bars): Return to the serene, slowly evolving melody, now with added
layers of texture and harmonic depth
Coda (60 bars): A gradual ascent in pitch and dynamics, culminating in a
radiant, climactic ending
Function: Music for a ceremony or ritual celebrating the power of light and
illumination

Hero's Journey

Suggested BPM and meter: 80 BPM, 4/4

Length of composition: 200 bars
Sections:
A (40 bars): Bold, triumphant theme with strong rhythms and powerful brass
accents
B (40 bars): Softer, more introspective section with a tender, reflective
melody
C (40 bars): Dramatic, conflict-laden episode with contrasting themes and
sudden shifts in dynamics
A' (40 bars): Return to the bold, triumphant theme, now with a sense of
resolution and accomplishment
Coda (40 bars): A final, celebratory flourish, combining elements from previous
sections and ending on a high note
Function: Music for a ceremony honoring a hero or commemorating a significant
achievement

Exotic Interlude

Suggested BPM and meter: 60 BPM, 5/4

Length of composition: 180 bars
Sections:
A (45 bars): Mysterious, modal melody with exotic percussion and a hypnotic,
pulsing rhythm
B (45 bars): Lush, evocative passage with a sinuous melody and rich,
otherworldly harmonies
A' (45 bars): Return to the mysterious, modal melody, now with added layers of
texture and ornamentation
Coda (45 bars): A final, mystical exploration of the piece's themes, fading
into the distance like a mirage
Function: Background music for an exotic, magical scene or event within a
courtly setting

Sacred Processional

Suggested BPM and meter: 50 BPM, 4/4

Length of composition: 240 bars
Sections:
A (60 bars): Majestic, solemn processional theme with a steady, measured pace
and rich harmonies
B (60 bars): More intimate, introspective section with a delicate, devotional
melody
A' (60 bars): Return to the majestic, solemn processional theme, now with added
layers of instrumentation
Coda (60 bars): A slow, stately cadence, culminating in a final, resounding
chord
Function: Music for a sacred procession or religious event

The Queen's Garden

Suggested BPM and meter: 65 BPM, 3/4

Length of composition: 192 bars
Sections:
A (48 bars): Delicate, elegant melody evoking the beauty of a royal garden,
with intricate, interweaving lines
B (48 bars): More pastoral, flowing section with a gentle, lilting rhythm and
lush harmonies
A' (48 bars): Return to the delicate, elegant melody, now with added
ornamentation and richer textures
Coda (48 bars): A peaceful, reflective ending, as if the sun is setting over
the garden
Function: Music for a garden party or outdoor event in a royal setting

The King's Feast

Suggested BPM and meter: 110 BPM, 6/8

Length of composition: 210 bars
Sections:
A (42 bars): Lively, festive dance theme with a strong, infectious rhythm and
playful interplay between instruments
B (42 bars): Contrasting, more stately section with a noble, dignified melody
A' (42 bars): Return to the lively, festive dance theme, now with added layers
of instrumentation and energy
C (42 bars): A rousing, celebratory episode with bold, triumphant harmonies and
accents
Coda (42 bars): A spirited, accelerating finale, culminating in a grand, joyful
close
Function: Music for a royal feast or banquet

Celestial Reverie

Suggested BPM and meter: 40 BPM, 4/4

 Length of composition: 200 bars
Sections:
A (50 bars): Ethereal, slowly unfolding melody with a spacious, open texture
and shimmering accompaniment
B (50 bars): Dreamier, more introspective section with a haunting, otherworldly
melody and mysterious harmonies
A' (50 bars): Return to the ethereal, slowly unfolding melody, now with added
harmonic depth and a sense of wonder
Coda (50 bars): A final, serene ascent in pitch and dynamics, leading to a
gentle, peaceful resolution
Function: Background music for a celestial-themed ceremony or event in a
courtly setting

These extended forms provide a range of structures and moods for your longer new-
age/high-court compositions, with
suggested tempos, meters, and lengths suitable for pieces with a duration of 3 to 8
minutes.