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  2. Spacing as in the voicing being spread quite wide? Or the formatting of the page spacing? I am experimenting with that consecutive dissonance passage. I'm glad you caught it because I wasn't convinced it would work either. When the quartet has time to sing through it for real (we did a quick and dirty read last week), I will pay close attention to this section. Thanks for listening!
  3. From m. 38 to 43 it seems in Cmaj: C - Dm - C - Dm - C... C - G (not Gm in m. 44) - C (m. 43).... This is all in Cmaj, the two following measures rest again in Cmaj. Notice in the melody that C is the longest note in this part. The Bb appears in m. 47 in a Bb chord, and in a Gm in m. 50 and 51. Perhaps here there is the true modulation with Gm - Bb - C7 - C7 / C7 - F in m. 52. From here it seems clear we are in F maj but notice the cadences or resolutions in F are in weak moments of the measurese. The G7 in m. 58 is a V7/V7.... perefect cadence in m. 62. It sounds nice. Only if you want to have a strongers F tonality from the beginning of the part, establish it with C7-F or Gm-C7-F.....
  4. Today
  5. Thank you! Rabbival, "stronger" is a much better word than "heroic" I agree. Or uplifting I guess. The dorian mode is implied both at 1.26 and 0.41. I think I used it a little smoother at 0.41 changing the mood to a more uplifting sense.
  6. Hello everyone, I am back, this is the piece I newly composed, hope you commentation.
  7. Thank you for your positive feedback, and I am glad that you like the piece
  8. Hello Alexx Thank you very much for your feedback, and I am really glad that you like my piece. Not everyone is interested in classical style music. I also am grateful for your remarks about the 4/4. I had another look at it, and I have to agree with you. The 4/4 time signature in a waltz is not appropriate. The reason for changing to 4/4 was that I suddenly got an impulse that the piece was getting boring. Now I realize that there are many other ways to deal with this, but I definite want to keep it as a waltz Thus, I have decided to remove the 4/4 segment and instead, insert a modification in 3 /4 (possibly somewhat longer as well). I will post as a revised version in due time. Thanks again for your valuable comment.
  9. To my ears, beat 4 of m. 44 has a G minor chord (ii in F), m. 45 is C (V in F), and m. 46 is F's arrival.
  10. I tend to equally often start with different components of the piece. Sometimes the melody comes first and I have to decide on the bass line afterwards(as is the case with my Fantasia in F). Sometimes the bass line comes first, as in a few of my piano sonatas. And sometimes I don't start with either of these, but instead start with a motive or a specific rhythm(the introductory canon of my first symphony is a good example of where I went rhythmic motive first in my composition and the melody and bass just kind of formed from that rhythm). And sometimes, I just go with the flow and don't worry too much about what happens next(my Piano Sonata no. 4 that I finished composing as a birthday piece for Mozart in January of this year is a good example of this).
  11. If you don't know already, I am writing a fantasia in the key of F major. I already posted about it here: Well, I have made some progress with the Fantasia. I have another section in place. Now, I might change some of those triplet arpeggios into sixteenth note arpeggios or eighth note arpeggios, but I have an arpeggiated bass line. I'm wanting to gradually harmonize the melody and make it richer to make it sound like the river is getting wider. But, in order to do that, I need to know where the modulation back to F major occurs(because, like I said in the previous post, I am reserving dissonance for those moments where I go into a minor key). I know I am in C major for a while before I modulate back to F major(Settling the drama of the C minor with a Picardy Third followed by a passage in C major). But, I have no idea where I actually modulate back to F major. That is a bit of a problem. Because what if I by accident put a Bb over a B natural or vice versa(those G chords do change in sonority from major to minor)? That is going to lead to a major seventh interval in there and an urge to resolve. As an example of what I mean by the major seventh having an urge to resolve, whenever I hear a CM7 chord, my brain is always like "This chord so wants to go to C major, it is so close, just raise that B and it will feel right" or in other words, it hears a dominant function from a "tonic" chord. Anyway, back to my question relating to modulation. There are a few places where I can hear a tendency towards F major, with the first one being more subtle than the others. Here they are: But then again, between bars 38 and 51, C major feels pretty settled, like it is the tonic, and it is only after bar 51 that I am sure it is acting as a dominant chord in the key of F major. However, I'm pretty sure that bar 51 is not the point of modulation back to F. I'm pretty sure that the modulation happens before that cadence in F and is only confirmed by the cadence. But then, if the modulation happens before bar 51, why would C major feel so settled before bar 51? You see what I mean? On the one hand, there are things that push the music towards the key of F major, like the Bb major chord at bar 47. If I were to still describe C major as being the tonic at bar 47, the Bb major chord would be a secondary subdominant chord. But on the other hand, until that cadence in F, C major feels as settled as can be, like it is the tonic chord. When I am wanting to make the melody richer, this could potentially become disastrous, this uncertainty of where the modulation happens because C major feels settled until the cadence in F. Here is what I have now of the Fantasia in F(C major section that modulates back to F starts at 1:26 in the audio and bar 38 in the PDF)
  12. I used boring C -mostly. My music theory is not where it should be. I had to do parts of that over again too. Since the previous sounded like a melodic mess. A lot needs to be redone.
  13. You need to add more counterpoint to your melodies. It's a good start; however, don't stick with homophonic textures. WRITE MORE!
  14. MP3 Play / pause Classical Symphony Mv2_5 0:00 0:00 volume > next menu Classical Symphony Mv2_5 > next PDF Classical Symphony Mv2_5 - Full Score I love the main theme played by Frensh horn at the begining and then by the cello, which actually are my two favourite instruments.
  15. Yesterday
  16. When I was thinking about applying I wrote the last movement first so I could sort out this shared material then write enough that I could pick bits and pieces from it for the earlier movements. The issue of amalgamation was answered therefore.
  17. As far as it went I enjoyed it......but tend to agree about being just a little longer. Some nifty orchestration and the changes in tempo seemed appropriate. I don't know about the pause at the end of bar 10 though. Have you tried breaking straight into the piu mosso? The chromaticism wasn't intrusive and just seemed to help the harmonic flow. My only comment otherwise is that the notation rendering didn't do it justice. A few parts that came across as solos didn't stand out - just lost in the general balance. However, it's a pleasant work. Just ended all too quickly!
  18. Hi ! How can we contact you to get your music scores ? I can't find your email anywhere...
  19. Hi, here my new baroque piece. Any comments are welcome!
  20. @Alexx I do think that form is a highly subjective aspect of music. I can definitely understand what you were meaning and I think I will revise this to make the themes clearer.
  21. Hi! I just discovered your work today. I really like this work. Would love to play this someday. Is it possible to get a copy of your piece? Thank you. I’ve been looking for your email but couldn’t find it. You can email me at ric_bapz@yahoo.com.ph
  22. I don't think I have any particular preference about the naming convention. Seems like a somewhat unnecessary criteria to judge in this particular case so go wild, I guess. My only concern would be to make sure the movements are not their own individual pieces, since the last movement's amalgamation status requires a bit of formal cohesion.
  23. Everyone has own personal imagines about good music structures. If you are sure that you have done everything right in this piece you of course can leave it as is. Sometimes listeners perceive new forms wrong. My opinion was just my opinion.
  24. Just listened to the entire suite. I must say I am very impressed with how unobtrusive it is. And I love the melancholic sonorities of the work! I think the 4th movement (the flower) is my favorite, although the last one (the moon) is also really good. When can we expect a score? One criticism I have is that all the movements sound largely the same. In fact, I had to go back to the video (I was working on something else) to see if I was listening to a different movement. This is probably owing to the deliberate unreserved nature of these movements and not necessarily to a lack of compositional depth, but it is an observation I had. Overall, fantastic job!
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