Patency for Flute and Piano (Now with Live Performance)

After both listening to the piece and attempting (rather successfully) to follow it through the score, I can't really think about something to add or suggest (not that I would dare to, given my limited knowledge of contemporary styles). Despite the unsettled harmonies and constantly changing meters, there's something so coherent and structured about this music, it keeps calling the listener's attention. Well done.

I think it sounds really good. Very interesting how you build tension and excitement with very few dissonances.

The harmonic language focuses around open fifths and fourths. I also used the circle of fifths almost like a tone row.

I get very curious... Anything you can tell me about your (or this) harmonic language would be appreciated, and also how you use the circle of fifth "like a tone row".
Thanks!

I liked this very much. I have write pieces too where I use the circle of fifths as a row.
It is really interesting to see how it worked out here. I like the overal tonal language it causes, the rather strong focus on 5ths creates a sort of tonal feeling. I love that combination.

Hi there,

The piece started out with a lot of potential, but I feel like it got lost later on for a lot of reasons. Probably my biggest suggestion to you would be to develop a more melodic line to work with; perhaps fit the line to a phrase structure. Think like Bartok or Schoenberg... all of their lines are so natural and despite being atonal sometimes, the lines all feel like voices. Building on this, a lot of the textures are too same-ish for me. This stems from the melodic problem because a lot of your development is essentially monophonic, for lack of melody. For example, from measure 87 to 111 (the end) you have essentially one line with harmony. If you were to have started with a more flowing melodic line, the contrapunctal parts that necessitate a work for piano AND flute would have most likely come out naturally. Finally, the harmonic movement is not very fluid to me. I guess it would make more sense if the harmonies themselves were disjointed or dissonant, but they feel like they fit in normal common practice music, but they're just prepared improperly.

On the other hand, I enjoyed your use of thematic development and rhythmic changes and syncopation. That definitely was the main point of interest for me upon first listen. I don't mean to sound too negative! Just telling you everything that I think could make the piece stronger than it already is. Feel free to take my opinions or not.

Good work!

I think it sounds really good. Very interesting how you build tension and excitement with very few dissonances.I get very curious... Anything you can tell me about your (or this) harmonic language would be appreciated, and also how you use the circle of fifth "like a tone row".Thanks!

the harmonic language comes directly from the circle of fifths. Much like how serialist composers used a tone row for all their melodies and harmonies, I used the circle of fifths as a my tone row. If you follow the melody, you will noticed that the melody follows the circle of fifths. However, I do venture away from following it very strictly, and often spending time on one side of the circle. This is especially true in the middle section of the piece.

Now with Live performance.

After listening to the live performance, I feel like this piece would kill if interpreted like a jazz fusion song, especially because of the time signatures. I can imagine a drum set and double bass groovin' with this.