This is another exploration into scales, as part of the Mediterranean Suite.
Lucentum is the Roman name of my city, and means Light or Star... This city is very old. It seems to be founded by the Iberos (¿Iberians?). It was a Phoenician and a Greek colony (named Akra Leuca = White Coast). Afterwards a Roman city (Lucentum), and in 8th century the Arabs entered and stayed for 800 years, they gave the actual name: Alicante (from the Arab names: Ali and Cantara, who were a couple in love that ended in tragedy, of course).
Well, this piece is a sort of nocturno with a tonal part in the beginning and in the ending.
In the middle there is a development using a Lydian - Harmonic scale: first tetrachord is lydian, second one is harmonic.
The generated chords make the mode moderately unstable (the tonic is stable Cmaj7 and there is a good cadential chord Bmin). In this part, what seem chromaticisms are, in fact, diatonic notes to the scale.
Wow...that was very pleasant to listen to. I'm playing this for the third time and it actually put my daughter to sleep while I played it hahaha. Once again and as usual the melodies you create are very beautiful and ongoing that fluctuates highs and lows that compliments each other elegantly. Good job!
1. Good in atmosphere, some executional problems. Clashing tones like in m. 28 with the G# and the A, and 39 with E naturals and E-sharps. While I can't say that I'm great at writing choral music, there's something to be said about it still following these conventions. I'm also curious by the ending on the dominant.
2. I'm not sure I quite understand this one harmonically. It seems to go all over the place. The interjections of fast tempo didn't feel quite justified in terms of setup and the slow sections made some weird harmonic choices I'm not sure what you were going for. Not to say all of them sounded off.
3. This is probably the most straightforward movement. I think my only gripe is sometimes you manage suspensions and retardations a little bit strangely.
4. Bowings in this one aren't as smooth. m. 7, leading tone always resolves up, same with other places. Lot more parallel fifths in this one as well. Also kind of an awkward end.