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  • Works With Few Reviews

  • Posts

    • So I get this might be an obscure topic, but I want to explain what I mean. There are a bunch pieces that I don't really like as a whole but have really spectacular moments in them. For example, one is (that's not on my list), the Myers violin concerto, 2nd movement, is an alright piece, but the very end with the accelerando is a really great moment. I was wondering if anyone else felt the same way. Also, if this was already a topic somewhere, I apologize. 10. Shostakovich, Symphony 15, IV, the very end, starting from the mallet duet. 9. Britten, Young Person's Guide to the Orchestra, the fugue to the very end, especially the 2 vs. 3 part. 8. Mahler, Das Lied Von Der Erde, VI: Der Abschied, A' section to the soloist. 7. Schnittke, Concerto Grosso No. 1, V: Rondo, where the amplified piano solo comes back in, this time with strings. 6. Barber, Violin Concerto, III: Allegro con moto perpetuo, the end where the violin solo goes into 16th notes, instead of triplets. 5. Respighi, The Pines of Rome, III, The Bird Calls. 4. Rautavaara, Piano Concerto No. 1, I: Con grandezza, the end of the first movement ends on a glorius DM7 chord. 3. Strauss, Death and Transfiguration, after the last heart palpitation and the contrabassoon comes in. 2. Borodin, Polovetsian Dances, the last chord.  1. Respighi, The Pines of Rome, IV: The Pines of the Appian Way, the crescendo Italian augmented 6th chord after the huge dropdown in volume, to the tonic chord after.  
    • About the issue you mention in 35-37... That's because the scale in this section m. 21-37 is not major nor minor. It's a modal scale: G - A - B - C - D - Eb - F.... Building chords from this scale, the tonic is G, and the tonic chord G, of course, but there are no dominants here, there are cadential chords which, usually, are a step from the tonic chord. So, F7 is cadential because it's a tone away from G and includes the characteristic note: Eb. This particular scale is  1 - 2 - 3 - 4 - 5 - b6 - b7, and we can call it mixolydian b6, but it is also called hindu scale. I use exotic scales many times in different ways. Here, all the chords (harmony) are built only with notes from the scale. This is the way to make a scale sound as a harmonic system.  
    • Very interesting to hear your early works; it's noticeably different. I can see you were already experimenting with polyrhythms at this point (2 vs. 3). I've always admired your sense of harmony and this time is no different. Your chords are very interesting and suit your tonal melody line quite well. 35-37 were the only measures that stood out to me as a little awkward. Combining G5 with F7 (F13) with that rhythm was just weird to me, that's all. Great piece!
    • You have a commanding sense of how chords work! I was admittedly a little bit off put by the 9th VI chords with fermatas, they just seemed like awkward pauses. You never seem to give the bass voices a break do you, haha. Also maybe I just randomly lost my sense of pitch, but the A' section seems to be in Eb minor... different from the G minor key signature you had. Everything else is right...? Anyway, very nice to listen to!
    • This was the first nocturne I wrote, some tiem ago. It's in Emin, tonal but with some unusual progressions. In some parts I used an artificial scale (nor major, nor minor).
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