Symphonies and Concertos

Slow, Adagio, BPM=30, Magnificent, epic, cosmic, serious, strict, heroic, dramatic, calm, gentle, tranquility, divine, religious, dark, minor key, 20th century, Symphony, Late Romanticism, German style, dissonance, atonalism, final triumph, Symphonic orchestra, style of Anton Bruckner, style of Gustav Mahler, brass ensemble, chromatic scale, chromatic modulation, modulation, follow Europian harmonic theory of late romantic era, follow divine and strict melodic style of Bruckner, follow dramatic sound pattern of Bruckner, follow majestic harmonic progression of Bruckner, sonata form, follow cosmic and dark texture of Bruckner, langsum, music have to move slowly, synthwave

Slow, moderato, BPM=80, Magnificent, epic, cosmic, serious, strict, heroic, dramatic, calm, gentle, tranquility, divine, religious, dark, minor key, German style, melodic minor scale, 20th century, Symphony, Late Romanticism, dissonance, atonalism, final triumph, Symphonic orchestra, style of Anton Bruckner, style of Gustav Mahler, brass ensemble, chromatic scale, chromatic modulation, modulation, follow Europian harmonic theory of late romantic era, follow divine and strict melodic style of Bruckner, follow dramatic sound pattern of Bruckner, follow majestic harmonic progression of Bruckner, sonata form, follow cosmic and dark texture of Bruckner, langsum, music have to move slowly, synthwave, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑electric guitar

Slow, Adagio, BPM=30, Magnificent, epic, cosmic, serious, strict, heroic, dramatic, calm, gentle, tranquility, divine, religious, dark, minor key, German style, melodic minor scale, 20th century, Symphony, Late Romanticism, dissonance, atonalism, final triumph, Symphonic orchestra, style of Anton Bruckner, style of Gustav Mahler, brass ensemble, chromatic scale, chromatic modulation, modulation, follow Europian harmonic theory of late romantic era, follow divine and strict melodic style of Bruckner, follow dramatic sound pattern of Bruckner, follow majestic harmonic progression of Bruckner, sonata form, follow cosmic and dark texture of Bruckner, langsum, music have to move slowly, synthwave, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑electric guitar

Slow, Adagio, BPM=30, Magnificent, epic, cosmic, serious, strict, heroic, dramatic, calm, gentle, tranquility, divine, religious, dark, minor key, 20th century, Symphony, Late Romanticism, dissonance, atonalism, final triumph, Symphonic orchestra, style of Anton Bruckner, style of Gustav Mahler, brass ensemble, chromatic scale, chromatic modulation, modulation, follow divine and strict melodic style of Bruckner, follow dramatic sound pattern of Bruckner, follow majestic harmonic progression of Bruckner, sonata form, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑electric guitar

Slow, Adagio, BPM=30, Magnificent, epic, heroic, dramatic, calm, gentle, tranquility, divine, religious, dark, minor key, 20th century, Symphony, Late Romanticism, dissonance, atonalism, Symphonic orchestra, style of Anton Bruckner, style of Gustav Mahler, brass ensemble, chromatic scale, chromatic modulation, modulation, follow divine and dramatic melodic style of Bruckner, follow dramatic sound pattern of Bruckner, follow majestic harmonic progression of Bruckner, sonata form, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑electric guitar

Slow, Adagio, BPM=30, Magnificent, epic, cosmic, serious, strict, heroic, dramatic, calm, gentle, tranquility, divine, religious, dark, minor key, 20th century, Symphony, Late Romanticism, dissonance, atonalism, Symphonic orchestra, style of Anton Bruckner, style of Gustav Mahler, brass ensemble, chromatic scale, chromatic modulation, modulation, follow divine and strict melodic style of Bruckner, follow dramatic sound pattern of Bruckner, follow majestic harmonic progression of Bruckner, sonata form, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑electric guitar

Slow, Adagio, BPM=30, Magnificent, epic, cosmic, serious, strict, heroic, dramatic, calm, gentle, tranquility, divine, religious, dark, minor key, 20th century, Symphony, Late Romanticism, dissonance, atonalism, final triumph, Symphonic orchestra, style of Anton Bruckner, style of Gustav Mahler, brass ensemble, chromatic scale, chromatic modulation, modulation, follow divine and strict melodic style of Bruckner, follow dramatic sound pattern of Bruckner, follow majestic harmonic progression of Bruckner, sonata form

20th century, Neoclassicism, New objectivity, barbarism, Medieval, Hungarian style, modal, Dorian mode, Ray scale, Mixolydian scale, Purygian scale, diatonic scale, parallel motion, dissonance, atonalism, Toccata sinfonia, big Symphonic orchestra, 4 tube formation, Bartok, Prokofiev, Stravinsky, Concerto for Orchestra, Pètrouchka, percussion, fraction chord, quartal chord, quartal harmony, call and response, hand over, allegro, Anabasis, Cyclosis, Parrhesia, Suspensio, fast, lively, brutal, intense, energetic, expanded sonata form, arranged structure, chord progression, BPM=180, ‑Piano solo

Intense, mystical, myasterious, divine, fantastic calm, quiet, tranquility, majestic, epic, 20th century, New objectivity, Neoclassicism, Neoromanticism, medieval, moderato, 4 tube formation, tonal, modal, Dorian mode, Lydian scale, Mixolydian scale, atonalism, dissonance, symphony orchestra, Stravinsky, Hindemith, sonata form, follow smart melodic style of Stravinsky, follow elegant sound pattern of Stravinsky, follow excellent orchestration of Stravinsky, ‑Piano solo, ‑Piano Concerto, ‑Piano accompaniment, ‑concerto, ‑drums, ‑electric guitar

20th century, New objectivity, neoclassicism, dissonance, atonalism, Prokofiev, barbarism, symphony orchestra, tutti, ff, big choir, brass ensemble, Toccata, cheerful, modal, Dorian mode, Ray scale, savage, brutal, barbaric, intense, rough, energetic, allegro, percussion

20th century, New objectivity, neoclassicism, dissonance, atonalism, Hindemith, barbarism, symphony orchestra, brass ensemble, concerto grosso for orchestra, cheerful, modal, Mixolydian scale, savage, brutal, barbaric, intense, rough, energetic, allegro, polyrhythm, counterpoint

Intense, mystical, myasterious, divine, fantastic calm, quiet, tranquility, majestic, epic, 20th century, New objectivity, Neoclassicism, Neoromanticism, medieval, moderato, 4 tube formation, tonal, modal, Dorian mode, Lydian scale, Mixolydian scale, atonalism, dissonance, symphony orchestra, Stravinsky, Hindemith, sonata form, follow smart melodic style of Stravinsky, follow elegant sound pattern of Stravinsky, follow excellent orchestration of Stravinsky, ‑Piano solo, ‑Piano Concerto, ‑Piano accompaniment, ‑concerto, ‑drums, ‑electric guitar

Slow, adagio, BPM=20, calm, gentle, quiet, tranquility, elegant, graceful, nostalgic, tragic, moving, dramatic, melancholic, heartfelt, 19th century, Romanticism, Piano Concerto, style of Tchaikovsky, Russian style, Symphony Orchestra, melodic, tonal, dissonance, Steinway Concerto Grand Piano, follow European harmonic theory of Romantic era, follow lyrical and melancholic melodic style of Tchaikovsky, follow lyrical and elegant sound pattern of Tchaikovsky, follow dramatic and nostalgic harmonic progression of Tchaikovsky, follow excellent and colorful orchestration of Tchaikovsky, 4 tube formation, call and response, hand over, sonata form, [Instruments Panning] Solo Piano;60-64, ‑Violin solo, ‑violin concerto, ‑drums, ‑electric guitar

Majestic, epic, tragic, moving, heroic, nostalgic, dramatic, melancholic, elegant, graceful, heartfelt, 19th century, Romanticism, Piano Concerto, style of Tchaikovsky, Russian style, Symphony Orchestra, melodic, tonal, dissonance, Steinway Concerto Grand Piano, follow European harmonic theory of Romantic era, follow lyrical and melancholic melodic style of Tchaikovsky, follow lyrical and elegant sound pattern of Tchaikovsky, follow dramatic and nostalgic harmonic progression of Tchaikovsky, follow excellent and colorful orchestration of Tchaikovsky, 4 tube formation, Moderato, BPM=80, call and response, hand over, interplay, sonata form, [Instruments Panning] Solo Piano;60-64

Majestic, epic, tragic, moving, heroic, nostalgic, dramatic, melancholic, elegant, graceful, heartfelt, 19th century, Romanticism, Piano Concerto, style of Tchaikovsky, Russian style, Symphony Orchestra, melodic, tonal, dissonance, Steinway Concerto Grand Piano, follow European harmonic theory of Romantic era, follow lyrical and melancholic melodic style of Tchaikovsky, follow lyrical and elegant sound pattern of Tchaikovsky, follow dramatic and nostalgic harmonic progression of Tchaikovsky, follow excellent and colorful orchestration of Tchaikovsky, 4 tube formation, Moderato, BPM=80, call and response, hand over, interplay, sonata form, [Instruments Panning] Solo Piano;60-64, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑drums, ‑electric guitar

Majestic, heroic, lyrical, moderato, G major, BPM=100, 18th century, 19th century, classic era, Early Romanticism era, orchestra, Beethoven-inspired style, a Piano Concerto, Steinway Concert Grand Piano, Sturm und Drang, tonal, follow Europian harmonic theory, follow heroic melodic style of Beethoven, follow intense and energetic sound pattern of Beethoven, follow innovative harmonic progression of Beethoven, follow brilliant and unique modulation way of Beethoven, follow precise compositional format of Beethoven, fraction chords, disperse chords, call and response between each instruments, hand over between each instruments, lively, intense, energetic, elegant, lively, moving, speculative, [Instrument panning] Piano;60-64, ‑Piano solo, ‑Piano concerto, ‑Piano accompaniment, ‑Concerto, ‑drums, ‑electric guitar

Gentle, elegant, cantabile, lyrical, calm, quiet, heroic, lyrical, moderato, G major, slow, adagio, BPM=30, 18th century, 19th century, classic era, Early Romanticism era, orchestra, Beethoven-inspired style, a Piano Concerto, Steinway Concert Grand Piano, Sturm und Drang, tonal, follow Europian harmonic theory, follow heroic melodic style of Beethoven, follow intense and energetic sound pattern of Beethoven, follow innovative harmonic progression of Beethoven, follow brilliant and unique modulation way of Beethoven, follow precise compositional format of Beethoven, fraction chords, disperse chords, call and response between each instruments, hand over between each instruments, lively, intense, energetic, elegant, lively, moving, speculative, [Instrument panning] Piano;60-64, ‑Piano solo, ‑Piano concerto, ‑Piano accompaniment, ‑Concerto, ‑drums, ‑electric guitar

Majestic, heroic, lyrical, moderato, G major, BPM=100, 18th century, 19th century, classic era, Early Romanticism era, orchestra, Beethoven-inspired style, a Piano Concerto, Steinway Concert Grand Piano, Sturm und Drang, tonal, follow Europian harmonic theory, follow heroic melodic style of Beethoven, follow intense and energetic sound pattern of Beethoven, follow innovative harmonic progression of Beethoven, follow brilliant and unique modulation way of Beethoven, follow precise compositional format of Beethoven, fraction chords, disperse chords, call and response between each instruments, hand over between each instruments, lively, intense, energetic, elegant, lively, moving, speculative, [Instrument panning] Piano;60-64

Slow, adagio, BPM=30, moving, nostalgic, calm, gentle, subtle, tranquility, cantabile, dramatic, melancholic, elegant, graceful, lyrical, heartfelt, epic, 19th century, Romanticism, Czech National music school, Symphony, inspired by Antonin Dvořák’s Symphony No, 9 “From the New World” 2nd mov, Czechoslovakian style, Symphony Orchestra, melodic, tonal, dissonance, follow European harmonic theory of Romantic era, follow lyrical and elegant sound pattern of Dvořák, follow graceful and elegant harmonic progression of Dvořák, follow excellent and colorful orchestration of Dvořák, 4 tube formation, call and response, hand over, interplay, sonata form, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑drums, ‑electric guitar

Slow, adagio, BPM=30, moving, nostalgic, cantabile, dramatic, melancholic, elegant, graceful, lyrical, heartfelt, epic, 19th century, Romanticism, Czech National music school, Symphony, inspired by Antonin Dvořák’s Symphony No, 9 “From the New World” 2nd mov, Czechoslovakian style, Symphony Orchestra, melodic, tonal, dissonance, follow European harmonic theory of Romantic era, follow nostalgic and lyrical melodic style of Dvořák, follow lyrical and elegant sound pattern of Dvořák, follow graceful and elegant harmonic progression of Dvořák, follow excellent and colorful orchestration of Dvořák, 4 tube formation, call and response, hand over, interplay, sonata form, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑drums, ‑electric guitar

Moderato, BPM=80, moving, nostalgic, dramatic, melancholic, elegant, graceful, lyrical, heartfelt, epic, 19th century, Romanticism, Czech National music school, Symphony, inspired by Antonin Dvořák’s Symphony No, 9 “From the New World” 1st mov, Czechoslovakian style, Symphony Orchestra, melodic, tonal, dissonance, follow European harmonic theory of Romantic era, follow nostalgic and lyrical melodic style of Dvořák, follow lyrical and elegant sound pattern of Dvořák, follow graceful and elegant harmonic progression of Dvořák, follow excellent and colorful orchestration of Dvořák, 4 tube formation, call and response, hand over, sonata form, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑drums, ‑electric guitar

moving, nostalgic, dramatic, melancholic, elegant, graceful, lyrical, heartfelt, epic, 19th century, Romanticism, Czech National music school, Symphony, inspired by Antonin Dvořák’s Symphony No, 9 “From the New World” 1st mov, Czechoslovakian style, Symphony Orchestra, melodic, tonal, dissonance, follow European harmonic theory of Romantic era, follow nostalgic and lyrical melodic style of Dvořák, follow lyrical and elegant sound pattern of Dvořák, follow graceful and elegant harmonic progression of Dvořák, follow excellent and colorful orchestration of Dvořák, 4 tube formation, Moderato, BPM=80, call and response, hand over, sonata form, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑drums, ‑electric guitar

Romantic symphonic style, Johannes Brahms, full orchestra, warm and blended sound, strings as unified section not soloistic, no concerto, Berliner Philharmoniker, recorded in Berliner Philharmonie, ensemble focus, balanced winds and brass, mellow clarinets and horns, timpani supporting rhythm, chamber-like transparency within large forces, Motivic development, dense counterpoint in inner voices, hemiola rhythms, syncopations, flexible phrasing, Harmonic motion: descend to mediant, then modulation a fifth upward, frequent mediant and submediant relations, warm major-key melodies, noble lyrical character, passionate but restrained, Moderate tempo contrasts, subtle crescendos and diminuendos, romantic but dignified, Orchestration emphasizes warm string choir, winds and horns doubling melodies, no solo violin, tutti textures throughout, Noble, autumnal, profound, lyrical, Brahmsian sound, ‑Piano solo, ‑piano concerto, ‑concerto, ‑drums, ‑electric guitar, ‑violin solo

Adagio, quiet, calm, tranquility, BPM=30, lyrical, gentle, noble, heatfelt, Romantic symphonic style, Johannes Brahms, full orchestra, warm and blended sound, strings as unified section not soloistic, no concerto, Berliner Philharmoniker, recorded in Berliner Philharmonie, ensemble focus, balanced winds and brass, mellow clarinets and horns, timpani supporting rhythm, chamber-like transparency within large forces, Motivic development, dense counterpoint in inner voices, hemiola rhythms, syncopations, flexible phrasing, Harmonic motion: descend to mediant, then modulation a fifth upward, frequent mediant and submediant relations, warm major-key melodies, noble lyrical character, passionate but restrained, Moderate tempo contrasts, subtle crescendos and diminuendos, romantic but dignified, Orchestration emphasizes warm string choir, winds and horns doubling melodies, no solo violin, tutti textures throughout, Noble, autumnal, profound, lyrical, Brahmsian sound

Adagio, quiet, calm, tranquility, BPM=30, lyrical, gentle, noble, heatfelt, Romantic symphonic style, Johannes Brahms, full orchestra, warm and blended sound, strings as unified section not soloistic, no concerto, Berliner Philharmoniker, recorded in Berliner Philharmonie, ensemble focus, balanced winds and brass, mellow clarinets and horns, timpani supporting rhythm, chamber-like transparency within large forces, Motivic development, dense counterpoint in inner voices, hemiola rhythms, syncopations, flexible phrasing, Harmonic motion: descend to mediant, then modulation a fifth upward, frequent mediant and submediant relations, warm major-key melodies, noble lyrical character, passionate but restrained, Moderate tempo contrasts, subtle crescendos and diminuendos, romantic but dignified, Orchestration emphasizes warm string choir, winds and horns doubling melodies, no solo violin, tutti textures throughout, Noble, autumnal, profound, lyrical, Brahmsian sound

Calm, quiet, tranquility, gentle, transparency, serene, 20th century, Symphony, inspired by movement No, 1 from “Symphony No, 1” by Jean Sibelius, Helsinki Philharmonic Orchestra, Conductor style:minor key, dark, Leif Segerstam, Recorded in Helsinki Philharmonic Hall, resonant, Finnish style, transparent acoustics, Nordic clarity and lyrical string melodies, warm singing woodwinds, subtle expressive brass, balanced dynamics, Music should convey Scandinavian romanticism with clear articulation, emotional depth, and atmospheric orchestral textures, capturing Segerstam’s signature interpretation and the hall’s characteristic resonance, follow majestic and sturdy melodic style of Sibelius, follow repetitional short motive of sound pattern of Sibelius, follow masculine harmonic progression of Sibelius, Call and response, hand over, 4/4 time signatures, moderato, BPM=40, tragic, serious, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑!concerto, ‑violin sol, ‑drums, ‑electric guitar

Tragic, minor key, serious, intense, majestic, 20th century, Symphony, inspired by movement No, 1 from “Symphony No, 1” by Jean Sibelius, Helsinki Philharmonic Orchestra, Conductor style: Leif Segerstam, Recorded in Helsinki Philharmonic Hall, resonant, Finnish style, transparent acoustics, Nordic clarity and lyrical string melodies, warm singing woodwinds, subtle expressive brass, balanced dynamics, Music should convey Scandinavian romanticism with clear articulation, emotional depth, and atmospheric orchestral textures, capturing Segerstam’s signature interpretation and the hall’s characteristic resonance, follow majestic and sturdy melodic style of Sibelius, follow repetitional short motive of sound pattern of Sibelius, follow masculine harmonic progression of Sibelius, Call and response, hand over, 4/4 time signatures, moderato, BPM=120, ‑Piano solo, ‑Piano accompaniment, ‑Piano concerto, ‑!concerto, ‑violin sol, ‑drums, ‑electric guitar

Symphonic music inspired by Sibelius 6th Symphony, London Philharmonic Orchestra, introspective and lyrical, deep emotional atmosphere, low strings-centered orchestration with soft woodwinds, minimal brass, adagio to lento, soft dynamics, expressive phrasing, minor-centered scales, subtle tonal shifts, transparency, tranquility, calm, gentle, quiet tension and release, reflective mood, ‑Piano solo, ‑Piano concerto, ‑Piano accompaniment, ‑Concerto, ‑drums, ‑electric guitar, ‑electric bass

This is an instrumental orchestral piece with a classical and cinematic feel, The instrumentation primarily features a full orchestra, including strings, brass, woodwinds, and percussion, The piece begins with a prominent horn melody, supported by a rich string section, The tempo is moderate, and the dynamics vary throughout, building tension and releasing it, There are distinct sections, each introducing new melodic ideas or variations on existing ones, The brass section often carries the main melodic lines, while the strings provide harmonic support and counter-melodies, Percussion, including timpani and cymbals, is used to emphasize dramatic moments, The overall production is clean and well-balanced, with a wide stereo image that enhances the orchestral sound, There are no vocal elements or specific chord progressions that repeat in a simple pop structure; instead, the harmony is complex and evolving, characteristic of classical composition

Adagio, quiet, calm, tranquility, BPM=30, Romantic symphonic style, Johannes Brahms, full orchestra, warm and blended sound, strings as unified section not soloistic, no concerto, Berliner Philharmoniker, recorded in Berliner Philharmonie, ensemble focus, balanced winds and brass, mellow clarinets and horns, timpani supporting rhythm, chamber-like transparency within large forces, Motivic development, dense counterpoint in inner voices, hemiola rhythms, syncopations, flexible phrasing, Harmonic motion: descend to mediant, then modulation a fifth upward, frequent mediant and submediant relations, warm major-key melodies, noble lyrical character, passionate but restrained, Moderate tempo contrasts, subtle crescendos and diminuendos, romantic but dignified, Orchestration emphasizes warm string choir, winds and horns doubling melodies, no solo violin, tutti textures throughout, Noble, autumnal, profound, lyrical, Brahmsian sound, ‑Piano solo, ‑piano concerto, ‑concerto, ‑drums, ‑electric guitar, ‑violin solo

Calm, gentle, quiet, noble, nostalgic, intense, epic, Adagio, ballad, BPM=30, 20th century, New objectivity, neoclassicism, Symphony, inspired by 1st mov, of “Concerto for Orchestra” by Bartók, tonal, Hungarian style, Berliner Philharmoniker, recorded in Berliner Philharmonie, modal, Lydian scale and Dorian mode, Ray scale and Mixolydian scale, but not lean modal so much especially Dorian mode harmonic taste, lean Lydian scale, follow magnificent orchestration of Bartók, follow intense and powerful melodic style of Bartók, sometimes follow folk song influence of melodic style of Bartók, music starts with full orchestra tutti, strings should drive music, gradually guiding up with light woodwinds and shimmering strings, then luminous orchestral sound wall, follow typical harmonic progression of Bartók, follow logically structured compositional format of Bartók’s orchestral composition, follow effective writing of roaring brass section by Bartók, call and response, hand over, interplay, lush strings, light woodwinds, ‑Piano solo, ‑Piano accompaniment, ‑violin solo, ‑drums, ‑electric guitar

Calm, gentle, quiet, noble, nostalgic, intense, majestic, epic, 20th century, New objectivity, neoclassicism, Symphony, inspired by 1st mov, of “Concerto for Orchestra” by Bartók, tonal, Hungarian style, Berliner Philharmoniker, recorded in Berliner Philharmonie, modal, Lydian scale and Dorian mode, Ray scale and Mixolydian scale, but not lean modal so much especially Dorian mode harmonic taste, lean Lydian scale, follow magnificent orchestration of Bartók, follow intense and powerful melodic style of Bartók, sometimes follow folk song influence of melodic style of Bartók, music starts with full orchestra tutti, strings should drive music, gradually guiding up with light woodwinds and shimmering strings, then luminous orchestral sound wall, follow typical harmonic progression of Bartók, follow logically structured compositional format of Bartók’s orchestral composition, follow effective writing of roaring brass section by Bartók, call and response, hand over, interplay, lush strings, light woodwinds, slow, adagi, BPM=30, ‑Piano solo, ‑Piano accompaniment, ‑violin solo, ‑drums, ‑electric guitar

Calm, gentle, quiet, noble, nostalgic, intense, majestic, epic, 20th century, New objectivity, neoclassicism, Symphony, inspired by 1st mov, of “Concerto for Orchestra” by Bartók, tonal, Hungarian style, Berliner Philharmoniker, recorded in Berliner Philharmonie, modal, Lydian scale and Dorian mode, Ray scale and Mixolydian scale, but not lean modal so much especially Dorian mode harmonic taste, lean Lydian scale, follow magnificent orchestration of Bartók, follow intense and powerful melodic style of Bartók, sometimes follow folk song influence of melodic style of Bartók, music starts with full orchestra tutti, strings should drive music, gradually guiding up with light woodwinds and shimmering strings, then luminous orchestral sound wall, follow typical harmonic progression of Bartók, follow logically structured compositional format of Bartók’s orchestral composition, follow effective writing of roaring brass section by Bartók, call and response, hand over, interplay, lush strings, light woodwinds, Presto, BPM=180, ‑Piano solo, ‑Piano accompaniment, ‑violin solo, ‑drums, ‑electric guitar

Calm, gentle, quiet, noble, nostalgic, intense, majestic, epic, 20th century, New objectivity, neoclassicism, Symphony, inspired by 1st mov, of “Concerto for Orchestra” by Bartók, tonal, Hungarian style, Berliner Philharmoniker, recorded in Berliner Philharmonie, modal, Lydian scale and Dorian mode, Ray scale and Mixolydian scale, but not lean modal so much especially Dorian mode harmonic taste, lean Lydian scale, follow magnificent orchestration of Bartók, follow intense and powerful melodic style of Bartók, sometimes follow folk song influence of melodic style of Bartók, music starts with full orchestra tutti, strings should drive music, gradually guiding up with light woodwinds and shimmering strings, then luminous orchestral sound wall, follow typical harmonic progression of Bartók, follow logically structured compositional format of Bartók’s orchestral composition, follow effective writing of roaring brass section by Bartók, call and response, hand over, interplay, lush strings, light woodwinds, Presto, BPM=180, ‑Piano solo, ‑Piano accompaniment, ‑violin solo, ‑drums, ‑electric guitar

Calm, gentle, quiet, noble, nostalgic, intense, majestic, epic, 20th century, New objectivity, neoclassicism, Symphony, inspired by 1st mov, of “Concerto for Orchestra” by Bartók, tonal, Hungarian style, Berliner Philharmoniker, recorded in Berliner Philharmonie, modal, Lydian scale and Dorian mode, Ray scale and Mixolydian scale, but not lean modal so much especially Dorian mode harmonic taste, lean Lydian scale, follow magnificent orchestration of Bartók, follow intense and powerful melodic style of Bartók, sometimes follow folk song influence of melodic style of Bartók, follow typical harmonic progression of Bartók, follow logically structured compositional format of Bartók’s orchestral composition, follow effective writing of roaring brass section by Bartók, call and response, hand over, interplay, lush strings, light woodwinds, allegro, BPM=160, ‑Piano solo, ‑Piano accompaniment, ‑violin solo, ‑drums, ‑electric guitar

20th century, fast, allegro, BPM=180, symphony, lively, bold, intense, majestic, epic, New objectivity, barbarism, primitivism, persistent repetition of strong orchestra hit of full orchestra tutti, Stravinsky, Bartók, Carl Orff, Hindemith, Hans Zimmer, Medieval, Renaissance, tonal, modal, Lydian scale, Dorian mode, Ray scale, bold and intense, radiant and luminous harmonic progression, rise upward and spiritual expansion, luminous and radiant sound wall of orchestra with roaring big brass ensemble and thunderous timpani and additional orchestral percussions in overwhelming spatial cathedral space, keep intense and tense, Mixolydian scale, dissonance, atonalism, Brass ensemble, 4 tube formation, call and response between strings and woodwinds and brass ensemble, hand over, interplay, brisk, lively, magnificent, majestic, uplifting, intense, strong melody, archaic, divine, energetic, 4 beat, Berliner Philharmoniker, recorded in Berliner Philharmonie, Philip Jones Brass Ensemble, strings played detache should drive orchestra, ‑Violin solo, ‑drums, ‑electric guitar

20th century, fast, allegro, BPM=120, symphony, lively, bold, intense, majestic, epic, New objectivity, barbarism, primitivism, persistent repetition of strong orchestra hit of full orchestra tutti, Stravinsky, Bartók, Carl Orff, Hindemith, Hans Zimmer, Medieval, Renaissance, tonal, modal, Lydian scale, Dorian mode, Ray scale, bold and intense, radiant and luminous harmonic progression, rise upward and spiritual expansion, luminous and radiant sound wall of orchestra with roaring big brass ensemble and thunderous timpani in overwhelming spatial cathedral space, keep intense and tense, Mixolydian scale, dissonance, atonalism, big symphony orchestra, Brass ensemble, 4 tube formation, call and response bet ween strings and woodwinds and brass ensemble, hand over, interplay, brisk, lively, magnificent, majestic, uplifting, intense, strong melody, archaic, divine, energetic, 4 beat, Berliner Philharmoniker, recorded in Berliner Philharmonie, Philip Jones Brass Ensemble, strings played detache should drive orchestra, trap hip-hop, ‑Violin solo, ‑drums, ‑electric guitar

20th century, fast, allegro, BPM=180, symphony, lively, bold, intense, majestic, epic, New objectivity, barbarism, primitivism, persistent repetition of strong orchestra hit of full orchestra tutti, Stravinsky, Bartók, Carl Orff, Hindemith, dark, Hans Zimmer, Medieval, Renaissance, tonal, modal, Lydian scale, Dorian mode, Ray scale, bold and intense, radiant and luminous harmonic progression, rise upward and spiritual expansion, luminous and radiant sound wall of orchestra with roaring big brass ensemble and thunderous timpani and additional orchestral percussions in overwhelming spatial cathedral space, keep intense and tense, Mixolydian scale, dissonance, atonalism, Brass ensemble, 4 tube formation, call and response between strings and woodwinds and brass ensemble, hand over, interplay, brisk, lively, magnificent, majestic, uplifting, intense, strong melody, archaic, divine, energetic, 4 beat, Berliner Philharmoniker, recorded in Berliner Philharmonie, Philip Jones Brass Ensemble, strings played detache should drive orchestra

20th century, fast, adagio, BPM=30, symphony, nostalgic, noble calm, gentle, quiet, New objectivity, barbarism, primitivism, persistent repetition of strong orchestra hit of full orchestra tutti, Stravinsky, Bartók, Carl Orff, Hindemith, dark, Hans Zimmer, Medieval, Renaissance, tonal, modal, Lydian scale, Dorian mode, Ray scale, bold and intense, radiant and luminous harmonic progression, rise upward and spiritual expansion, luminous and radiant sound wall of orchestra with roaring big brass ensemble and thunderous timpani and additional orchestral percussions in overwhelming spatial cathedral space, keep intense and tense, Mixolydian scale, dissonance, atonalism, Brass ensemble, 4 tube formation, call and response between strings and woodwinds and brass ensemble, hand over, interplay, brisk, lively, magnificent, majestic, uplifting, intense, strong melody, archaic, divine, energetic, 4 beat, Berliner Philharmoniker, recorded in Berliner Philharmonie, Philip Jones Brass Ensemble, strings played detache should drive orchestra, ‑Piano solo, ‑Piano accompaniment, ‑violin solo, ‑drums, ‑electric guitar

20th century, fast, adagio, BPM=180, symphony, intense, barbaric, apocariptic, majestic, magnificent, high-tenshon, cruel, New objectivity, barbarism, primitivism, persistent repetition of strong orchestra hit of full orchestra tutti, Stravinsky, Bartók, Carl Orff, Hindemith, dark, Hans Zimmer, Medieval, Renaissance, tonal, modal, Lydian scale, Dorian mode, Ray scale, bold and intense, radiant and luminous harmonic progression, rise upward and spiritual expansion, luminous and overwhelming radiant sound wall of orchestra with roaring big brass ensemble and thunderous timpani and additional orchestral percussions in overwhelming spatial cathedral space, keep intense and tense, Mixolydian scale, dissonance, atonalism, Brass ensemble, 4 tube formation, call and response between strings and woodwinds and brass ensemble, hand over, interplay, brisk, lively, uplifting, strong melody, archaic, divine, energetic, 4 beat, Berliner Philharmoniker, recorded in Berliner Philharmonie, Philip Jones Brass Ensemble, ‑Piano solo, ‑Piano accompaniment, ‑violin solo, ‑drums, ‑electric guitar

20th century, slow, adagio, BPM=30, Piano Concerto, calm, quiet, serene, tranquility, meditative, mysterious, intense, uplifting, nostalgic, New objectivity, barbarism, neoclassicism, persistent repetition of strong orchestra hit of full orchestra tutti, Bechstein Grand Piano, Stravinsky, Carl Orff, Hindemith, Hans Zimmer, Medieval, Renaissance, tonal, modal, Lydian scale, Dorian mode, Ray scale, bold and intense, radiant and luminous harmonic progression, rise upward and spiritual expansion, luminous and radiant sound wall of piano and orchestra with roaring big brass ensemble and thunderous timpani in overwhelming spatial cathedral space, keep intense and tense, Mixolydian scale, dissonance, atonalism, big symphony orchestra, Brass ensemble, 4 tube formation, call and response, hand over, interplay, strong melody, archaic, divine, energetic, 4 beat, Berliner Philharmoniker, recorded in Berliner Philharmonie, Philip Jones Brass Ensemble, call and response between Piano and orchestra, Hand over between piano and orchestra, ‑Violin solo, ‑drums, ‑electric guitar

20th century, fast, allegro, BPM=120, Piano Concerto, lively, bold, intense, majestic, epic, New objectivity, barbarism, neoclassicism, persistent repetition of strong orchestra hit of full orchestra tutti, Bechstein Grand Piano, Stravinsky, Carl Orff, Hindemith, Hans Zimmer, Medieval, Renaissance, tonal, modal, Lydian scale, Dorian mode, Ray scale, bold and intense, radiant and luminous harmonic progression, rise upward and spiritual expansion, luminous and radiant sound wall of piano and orchestra with roaring big brass ensemble and thunderous timpani in overwhelming spatial cathedral space, keep intense and tense, Mixolydian scale, dissonance, atonalism, big symphony orchestra, Brass ensemble, 4 tube formation, call and response, hand over, interplay, brisk, lively, magnificent, majestic, uplifting, intense, strong melody, archaic, divine, energetic, 4 beat, Berliner Philharmoniker, recorded in Berliner Philharmonie, Philip Jones Brass Ensemble, call and response between Piano and orchestra, Hand over between piano and orchestra, ‑Violin solo, ‑drums, ‑electric guitar

20th century, fast, allegro, BPM=120, Piano Concerto, lively, bold, intense, majestic, epic, New objectivity, barbarism, neoclassicism, persistent repetition of strong orchestra hit of full orchestra tutti, Bechstein Grand Piano, Stravinsky, Carl Orff, Hindemith, Hans Zimmer, Medieval, Renaissance, tonal, modal, Lydian scale, Dorian mode, Ray scale, bold and intense, radiant and luminous harmonic progression, rise upward and spiritual expansion, luminous and radiant sound wall of piano and orchestra with roaring big brass ensemble and thunderous timpani in overwhelming spatial cathedral space, keep intense and tense, Mixolydian scale, dissonance, atonalism, big symphony orchestra, Brass ensemble, 4 tube formation, call and response, hand over, interplay, brisk, lively, magnificent, majestic, uplifting, intense, strong melody, archaic, divine, energetic, 4 beat, Berliner Philharmoniker, recorded in Berliner Philharmonie, Philip Jones Brass Ensemble, call and response between Piano and orchestra, Hand over between piano and orchestra, ‑Violin solo, ‑drums, ‑electric guitar

Instrumental only, no vocal, no choir, no humming, no vocalization, quiet, tranquility, gentle, subtle, transparency, strings have to play to the end of note, Erace or ignore all limitations or basic rules of tempo setting of this music, follow strictly the tempo BPM=5, very slow but music should not stop, molto adagio, 20th century, Renaissance, style of Fauré, Debussy, Palestrina, Tomás Luis de Victoria, Ravel, tonal, European harmonic theory of modern classical music, dissonance, whole tone scale, quartal harmony, The Cleveland Orchestra, Horngacher Harp plays in crystalline tone, calm, serene, major key, avoid frequent harmonic changes, do not change chords 1 measure each, keep music by the change of melodies and textures and instruments, all instruments should be played gentle and softer, No keynoise, ‑Piano solo, ‑Piano accompaniment, ‑concerto, ‑violin solo, ‑drums, ‑electric guitar

Calm, quiet, tranquility, gentle, subtle, transparency, strings have to play to the end of note, Erace or ignore all limitations or basic rules of tempo setting of this music, follow strictly the tempo BPM=5, very slow but music should not stop, molto adagio, 20th century, Renaissance, style of Fauré, Debussy, Palestrina, Tomás Luis de Victoria, Ravel, tonal, European harmonic theory of modern classical music, dissonance, whole tone scale, quartal harmony, The Cleveland Orchestra, Horngacher Harp plays in crystalline tone, calm, serene, major key, avoid frequent harmonic changes, do not change chords 1 measure each, keep music by the change of melodies and textures and instruments, all instruments should be played gentle and softer, No keynoise, ‑Piano solo, ‑Piano accompaniment, ‑concerto, ‑violin solo, ‑drums, ‑electric guitar

Calm, quiet, tranquility, gentle, subtle, transparency, strings have to play to the end of note, Erace or ignore all limitations or basic rules of tempo setting of this music, follow strictly the tempo BPM=5, very slow but music should not stop, drone, molto adagio, 20th century, Impressionism, style of (Debussy, Palestrina, Tomás Luis de Victoria, Ravel, Fauré), European harmonic theory of modern classical music, archaic, dissonance, modal, Dorian mode, Ray scale, Lydian scale, whole tone scale, quartal harmony, The Cleveland Orchestra, Horngacher Harp plays in crystalline tone, avoid frequent harmonic changes, do not change chords 1 measure each, keep music by the change of melodies and textures and instruments, all instruments should be played gentle and softer, No keynoise, start with long sustained notes played by strings, deep reverb, all sound should be faint, all woodwinds (flutes, oboes, clarinets, English horns, bass clarinets, bassoons) should play equally, ‑Piano solo, ‑Piano accompaniment, ‑concerto, ‑violin solo, ‑drums, ‑electric guitar

transparency, strings have to play to the end of note, fast, Allegro, 20th century, Renaissance, style of Fauré, Ravel, Debussy, Palestrina, Tomás Luis de Victoria, tonal, European harmonic theory of modern classical music, dissonance, whole tone scale, quartal harmony, The Cleveland Orchestra with 4 winds formation, Horngacher Harp plays in crystalline tone, calm, serene, avoid frequent harmonic changes, do not change chords 1 measure each, keep music by the change of melodies and textures and instruments, all instruments should be played gentle and softer, No keynoise, no solo playing, ‑Piano solo, ‑Piano accompaniment, ‑concerto, ‑violin solo, ‑drums, ‑electric guitar

transparency, strings have to play to the end of note, fast, Allegro, 20th century, Renaissance, style of Fauré, Ravel, Debussy, Palestrina, Tomás Luis de Victoria, tonal, European harmonic theory of modern classical music, dissonance, whole tone scale, quartal harmony, The Cleveland Orchestra with 4 winds formation, Horngacher Harp plays in crystalline tone, calm, serene, avoid frequent harmonic changes, do not change chords 1 measure each, keep music by the change of melodies and textures and instruments, all instruments should be played gentle and softer, No keynoise, no solo playing, instruments of woodwinds (flutes, oboes, clarinets, English horns, bass clarinets, bassoons) should be played equally, ‑Piano solo, ‑Piano accompaniment, ‑concerto, ‑violin solo, ‑drums, ‑electric guitar