This is the best fugue I've heard an LLM write.
I took the fugue from Fable 5.2 yesterday (quote), gave Fable a moderate amount of compositional feedback, gave Opus a *lot* of feedback on articulation, and put it through my digital organ.
I especially like the pedal point on V.
Every model got the same prompt, one paragraph of 100 to 150 words on "A man waits for a train." Twenty paragraphs later, it was all professional slop â
Claude Fable 5.2 - Flute Sonata in A minor. The opening 8 bars use a figured bass by Corelli. After that, itâs all Fable. This is the first time I remember seeing a 9-8 suspension in the basso continuo (third movement, measures 1 and 11, for example). Opus wrote ninths into the solo part, but not into the figured bass. I think this shows a greater confidence in employing dissonance.
Prompt 1: âUse this figured bass as the starting point for a flute sonata movement in the Baroque style. Use two staves for the basso continuo and one for the flute. Respond with only the code block. [LilyPond code]â
Prompt 2: âCompose an allegro to follow this movement.â
Prompt 3: âCompose a largo, the sonata's third movement. The movement after this, the fourth, will be the last.â
Unfortunately, Fable ran out of usage before it could finish the fourth movement.
(Extra High effort)
Tchaikovsky Violin Concerto in D major, Op 35 Itzhak Perlman https://t.co/nxhydLeSXn
"...he is so relaxed and doesnât break a sweat while playing this incredibly difficult piece speaks for itself. Absolute legend and a truly exceptional violinist we only see once in a lifetime!"
Gemini 4 Carbon on the Bach Benchmark. Like other frontier models, it uses eighth notes and non-chord tones. The third phrase (mm. 9-12) has some awkwardness, like the root of the D diminished chord being doubled, but overall this is impressive work -- much closer to Fable 5.2 in quality than I would have expected. Google is back.
Claude Fable 5.2 on the Bach Benchmark. One of the best chorales weâve seen yet. This is the first time I remember seeing a third-inversion chord (m. 2) on this benchmark. Thereâs still a little awkwardness, such as the tenor doubling the third of the tonic in m. 9, but otherwise this is good solid work.