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    • Wow, this song has changed quite a bit since the last time I heard it. To be honest the first time I heard it I clicked off of it cause it bored me. But this version is really good. I listened through the whole thing, and afterwards checked that great summary before the piece. I can tell that this is a meaningful piece to you, not just by how much you say you worked, but by how beautiful  it is. Even though this is just a crappy midi voice, reading along to your music gave me chills. Its a pretty heartbreaking piece to read, and the piano complements it so well. I just want to say bravo, you need to either perform this piece yourself or find someone who will. 
    • Thanka a lot for the comment, I'll genuinely look into it. Since this was for a game I made it straight for the sound I wanted as I have never written for harp, but this is VERY helpful. There are two instruments I fear most: Guitars and harp
    • This is my "Sententia for Viola Op. 319". It is my first solitary sententia. It is the 2nd opus of sententia(e) I have composed for viola, the first being my Op. 169, a set of five senteniae, composed in September 2013. Of course, a viola player may choose to play all 6 together. But I could not but publish this solitary sententia with a separate opus number since it is so far removed in time from that initial set of 5 sententiae. I might later repost that set as part of my posts of old/previously posted but deleted pieces. Here is my updated description of the "sententia/e" as included on the title page of the score of the piece,: The 'sententia' is a musical form I originated in 2013. The word 'sententia' (plural: 'sententiae') is the Latin for the word 'sentence'. The Oxford dictionary defines 'sententia' as "A pithy or memorable saying, a maxim, an aphorism, an epigram; a thought, a reflection." For me a 'sententia' is a musical utterance of a thought that is complete in itself, like a sentence. It is also an utterance that finds no need for any elaboration or development. Hence my sententiae are short pieces that usually come in sets – the current sententia being an exception. In sets of sententiae, the individual sententiae are often related to each other in some way. For sets of sententiae also, it is expected that performers observe a short pause between one sententia and the next and that the audience refrain from clapping during those pauses.  
    • A Point Of  View   An incident/mis-understanding with a friend, caused me to rethink what and how a relationship worked, and also how I viewed the world in general. The piece was originally sadder, but i lightened the tone somewhat, and as the different motifs came to me, and the instruments used. I realized it represented how I viewed myself, and how I perceived life in general and how it has drastically changed over the years. While not excited to have turned 70, I realized my mother set an example of how to age gracefully. Without getting worked up over losses, both physical in my health, friendships, shrinking finances, the state of society and the world. So my mom was like the branch that bend with the wind and survived longer. My Dad was more rigid in his thinking, and did not deal well with the changes and losses that were happening to me.. No judgement on my Dad, we are each as emotionally different as we are physical. It’s just that one can’t immediately judge the emotional makeup of a person. where as its very easy to see physical makeup. I hope that point comes across in the music.  I wasn’t directly thinking about that, but as the piece matured, and I worked on and refined certain sections. I realized this was what I was subconsciously doing,
    • Hello. It's been a while since I've posted some new music. I'm experimenting with unusual modes to get more familiar with their sounds. Out of this came a very short piece for two harps written entirely in E lydian b7. This means that the only pitch classes present should be E, F#, G#, B, C#, and D, and E should feel like the home note. Whilst it brings out the unique flavor of the mode, it also severely limits the harmonic possibilities; it isn't functional harmony, and you need to constantly reinforce the tonic by other means than authentic cadences (since there is no proper leading tone), so the harmony is mostly based on "vamps" - alternating between two chords to prolong the tonic. I came to really like the sound of this magical mode after toying around with it. It sounds like normal lydian upon initial encounter, but has some wonderful strangeness that you don't find in normal lydian. Warning; geeky tangential stuff follows. The chords v, II, and vi make it possible to perfectly sequence a I-v-I up to a II-vi-II while staying in the key, which you can hear used in the beginning (but over an E pedal.) I just realized that the triads I and v together make up the scale 1 2 3 5 b7, while the triads II and vi make up the same scale starting on the 2nd degree of the lydian b7, and this shows that the parent scale (melodic minor ascending) comprises two such columns. Interesting. It's kind of like an "acoustic pentatonic scale" (idk if there is such a term out there) since its intervals resemble the early harmonics, like how the lydian b7 is also known as the "acoustic scale" for the same reason. https://soundcloud.com/hugget-zukker/mini-etude-in-lydian-b7-for-harp-duo Edit: The player doesn't appear for me, so I attached the mp3.
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