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- Plastic Birds
- By YakoB,
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By Luis Hernández · Posted
Hi, beautiful piece. Well balanced and done. It sounds more classical than romantic to me, but does it matter? -
By Carl Koh Wei Hao · Posted
This waltz is a nice piece to hear, and I like how you get the inspiration to compose this music. I enjoyed the waltz very much, but this piece has great room for improvement, especially how you harmonized the melodies. There is no problem with the chord progressions (cadences); however, the chords sound too distant, making the accompaniment less smooth. For example, you used a iib chord in bar 5, with the bass note being F3 and the tenor and alto being A3 and D4, respectively. In the next bar (bar 6), I would expect the tenor and alto to be B3 and D4. In your case, you used B2 and F3, which sound too distant from the notes in the previous bar. A good example of smooth voicing is seen in bars 38-39 (although I suggest that you omit the note D4 in the left-hand part in bar 39) and bars 61-62. One of my favourite parts of this waltz is from bars 70-71, where the harmony is smooth (the F-natural should be an E-sharp), but in bar 72, the A-note is missing in the F-sharp minor tonic chord. In most of the chords, the third is an indispensable note because it determines whether the chord is major or minor. To illustrate this statement, we will look at the C major tonic triad, whose third is an E, while in the C minor tonic triad, the third is an E-flat. Never omit the tonic and the third in major and minor chords, although you may occasionally omit the fifth. Overall, this waltz is an enjoyable piece. I really liked the arpeggio in bars 27, 104, and 135: they moved me a lot. I look forward to listening to your other pieces! -
By Monarcheon · Posted
You're in college, right? Imagine, instead of forcing yourself to be so scalar and inclusive in your approach, you take an isolated subset of the mode, set (026). This is substantially fewer notes and provides you with an opportunity to lighten your texture while staying true to the general sound of the mode. You can then do all of the typical fun inversions and transpositions of that set in that section to vary up the notes that are being used, maybe even using different whole tone collections at the same time. -
Yea I can see that. The middle section felt a little too boring imo, because there wasn't any change in texture apart from the changes in who plays the melody. Hmm what would be possible distant relationships in whole tone though? I was trying to think of some but to no avail -
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