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  2. Hello Everyone, Today I wrote an impromptu, Theme-and-Variation sketch on the Lullaby, "Rock-a-Bye Baby". Wish all of you have a nice dream and enjoy the music. P.S. It is supposed to be quiet, despite the rendering algorithms Best, HoYin
  3. Today
  4. Attempted a section in an odd time signature. Trying to combine the middle section with the rest of the piece took ages. Please do give feedback. Thanks.
  5. Thank you, this is very helpful!!!! I will correct it!! Would you please also take a look at my Mendelssohn symphony project a few threads further down? For me this is even more important than the Mozart... Regards Gerd
  6. So, I have finished analyzing Rondo a Capriccio. I found most of it simple to analyze. Those sequences that I got stuck on, I got stuck on because of the accented non-chord tones that Beethoven uses. But other than that, I found the analysis to be pretty simple to do. A lot of secondary dominants are used here. A lot of these are functional(so like the secondary tonic shows up right after the secondary dominant most of the time) but some are non-functional, only there as part of a sequence. Measure 57 is where a bit of ambiguity starts. I decided to analyze it in Bb until it made no more sense in Bb(which would be at measure 68) and then notate it as a pivot to Gm. Here is my reasoning behind analysing bars 57-68 in Bb instead of Gm: The short tonicizations I didn't bother notating as key changes and instead I decided to notate them as secondary dominants in the previous key. That is, except for some at the end where I'm not sure if it is a tonicization or a modulation, so I notated it as a modulation as a precautionary measure. A lot of the ending measures are simply I V I alternations with a lot of non-chord tones. Another frequent secondary chord I found is secondary diminished sevenths, usually vii°7/V leading either to V or to vii°7, which then leads to I or V depending on the previous chord. I saw a couple of augmented sixth chords, both German augmented sixths. The first one resolves to the dominant and is then respelt as a dominant seventh chord. The second one leads directly to a new tonic by keeping one of its notes as a common tone and resolving the other 3. So here is my analysis of Rondo a Capriccio and an MP3 so that you can listen to the piece. Do you think my analysis is accurate? Anything you would change about it?
  7. @Tónskáld Thank you once again for your in-depth comment -- it means a lot! I can find myself having a hard time making such extensive comments on the forum (I most certainly am minimalist in many aspects). Nonetheless, I am glad you enjoyed!
  8. Yesterday
  9. Yeah I could probably switch the second 8 measures of percussion a little lighter, but trying to keep a crescendo sound to it to lead it back to the chorus.
  10. I felt the music needed to take a breath. There's a lot of musical phrasing in there that shifts from passage to passage very quickly, and I was physically tired just listening to it. It also seemed to me that the percussion rhythm strove against the natural rhythm provided by the melody. (It might also be the reason the music seemed constantly out of breath. Dunno for sure, though.) I liked the pentatonic feel of the main melody and think you've got a good thing going here, overall! I would suggest giving the rhythmic structure a bit of a tweak so it flows better with the melodic structure. Maybe use less drumming for this first part and only fill in rhythmically where the melody lacks. It might be interesting to hear some Eastern-sounding percussion, too, such as a gong or wood blocks. Just don't overuse them! Keep it up!
  11. This is a good orchestration of one of Mozart's sonatas. I'm going to comment (as a player) on the woodwind section. There is some impractical writing. I'm going to look at some stuff in detail. You said this was practice, so I want to make these points. Don't take these the wrong way - the writing is mostly very good. Bar 2: Flutes cannot play low C very loudly. Compared to the very loud oboe in that register, there will be a distinct imbalance of tone and registers. Bar 6: The same again. Most flutes do not have the ability to play a low B. Bar 10: Bassoons slurring up octaves will be difficult and lose clarity. Bar 22: I assume you meant to slur the oboes too. If not, this will be very difficult and sound muddy. Bar 50: Low Bb is impossible on the flute. Bar 57: The oboes jump quite a lot here. I would maybe split the part up between different instruments. Bar 91: Arpeggiated basses don't work as well in the orchestra as on a piano, but they can be achieved. The bassoons and cellos will struggle a bit here. Bar 181: That'll be difficult on bassoons. If you have any questions about any of these points, just ask! 😀
  12. Glad you liked it Luis ! Muchas gracias 🙂
  13. What do you guys think of this, work in progress https://soundcloud.com/silverwolf941/project
  14. Hi Jared, Thanks a lot for your feedback and to take some time to hear it!
  15. Don't worry. Perhaps my idea of impressionism is more "french" than "nordic". I mean: quartal and quintal harmony, exotic scales, whole tone scale, non-functional harmony, etc...
  16. Aw, thanks for the kind words, Luis—and especially for taking the time to listen and comment! I'm working on adding fingering to the score so the difficult counterpoint passages in the beginning make more "playability" sense. I apologize for misleading you about the impressionism. In my mind, the Impressionists are composers like Sibelius, Debussy and Ravel; all of whom (for the most part) retained tonality in their works but who didn't employ the songlike, melody-driven structure most of the Romantics did. I feel that, in that regard, my music is similar. (Or maybe it's more accurate to say that's where my style is heading.) But I can hear the Classicism and Romanticism you refer to in your analysis! I could go on for days about Iceland, so I'll simply say that you should definitely visit.
  17. I'm afraid that the rythmic background is the standardfor an "epic" track. It sounds nice.
  18. Nice, well done, the counterpoint sounds good. Melodies are catchy. Sort of neo-baroque.
  19. Hi 🙂 Yesterday I went for a short walk under the rain, and I crossed a pair of ravens, which I remembered starting my week-end composition. That's why it's called "Les oiseaux" (The birds). Good week-end 🙂
  20. Good. The parts doesn't seem difficult but they fit well in this classic style.
  21. Very nice and enjoyable piece. I see you have a detailed and realistic (but difficult sometimes) writing for the piano and I like it. The overall feeling is very rhythmic, almost in an ostinato, so the counterpoint parts (teh beginning) are a good contrast. However, it doesn't sound impressionistic to me. It's tonal and harmony doesn't leave the audience any doubt (which is the essence of impressionism). I think it moves between classic and romantic language. But it's quite original, and that's what counts. (I'd love to see the mornings you describe in Iceland....)
  22. Last week
  23. Ah, Jared, these are marvels. The color, the structure, the abstractness. Comments for each piece individually are below. Gigue: The lilting effect was quite reminiscent of the sea. The theme was embedded and embellished throughout. I congratulate you! Serenade: Short but oh, so sweet! There is a richness here that was quite delightful. Music aside, I do believe you misspelled 'koi' at the end there. Dance: This one might have been my favorite. The colorful chords along with the tasteful rhythm kept me smiling. Fantasy: Superbly written piece, and the musical directions were just as fascinating. Dirge: Another favorite of mine—so melancholic. And I found it interesting that you switched to French for the descriptive post-title. Curious as to your reasons for that... Toccata: Loved the back-and-forth between the hands. Also, you used the word 'epigram' in a piece of music. How pithy of you. Berceuse: What depth! And the colorful imagery throughout is just breathtaking! In m18, though, I was confused about the 8th note chord in the bass before the half note chord. If it's an appoggiatura, shouldn't it be attached by a slur? If it's not, perhaps put a little distance between those two chords so the meaning is clearer. Caprice: This particular piece had a strong taste of impressionism (Debussy would be proud), and the return to the original theme at m42 was masterfully done! Even though this piece moved quickly and the chords were unconventional, none of the nuances were lost on me. Very well done, sir! I continue to be impressed by your musical prowess. It's quite apparent you put a good deal of thought and planning into these works, and I suppose that's why I find your music particularly appealing. There is no superfluity, only an overarching cohesiveness that ensures every note that's written makes sense, belongs. You must be an aesthetic minimalist, because it's as if your music has been distilled down so that each idea is effectively conveyed using as few notes as possible. I consider your works nothing short of masterpieces. I do hope the world discovers you someday. Thanks again for sharing yourself through your music! I look forward to hearing more of it!
  24. This song is the first in a five-movement suite inspired by my time in Iceland. The opening theme uses counterpoint and sustained notes to emulate that feeling of joy-anxiety each new day brings. There is a transitional passage that builds with anticipation into the middle theme, which is harmonically less complex than the first—this is meant to represent that feeling of unbridled peace an early morning stroll in nature brings. The middle theme is repeated in various keys and modulations before the return to the opening theme and the piece ends in a soft, arppegiated finish. Mornings anywhere are special times, but I find them particularly breathtaking in Iceland. There are so few people and so many natural phenomena that one can't help but be spiritually touched by íslensk dögun—an Icelandic dawn. (Be warned: sunrises/sunsets are difficult to catch in high summer and winter, as the sun never really rises/sets.) I couldn't resist incorporating a morning song into a suite about that lovely country! The overall style of the song is impressionistic... you likely won't come away humming any melodies, but (hopefully) you will come away with those feelings etched on your soul for a while. BTW I'm a pianist and, as such, strive to make my piano songs as enjoyable to play as possible. You'll notice quite a bit of hand-crossing, melody-driven left-hand passages, and many other "fun" effects. I think that's enough words for now. Please, enjoy and comment! I always love hearing how the piece made you feel, and what did or didn't sit well with you!
  25. While I am not as familiar with this piece as I am sure you now are, I felt you managed to capture the piece effectively for the orchestra! It certainly felt quite natural. My critique would be to be cautious in excessive line-doubling. For instance, in m. 64, while I understand the rationale in doubling the line of say the first violin, I can envision the woodwinds providing rhythmic accentuation there rather than simply following the lead of the violins (with the second violins following the first, but an octave down, a more resonant logic). The dialogue that you develop between the instruments, mm. 36 - 44 as an example, felt much more liquid and effective. Great job, nonetheless!
  26. I enjoyed this! If possible, could you post the score (it'll help us comment on specifics)? I think you did well with beginning the process of thickening a texture. I think what might help improve this piece would be taking a dense texture and exploring ways to reduce it, then add to it, reduce it etc. Moreover, I think that experimenting more with less regular rhythmic configurations will break a bit of the monotony that can begin to develop; pushing a little further will make it feel less like an exercise. Overall, I think you did a good job!
  27. I really enjoyed this! Suspensions were well utilized, it was orchestrated well (b. 18, for instance), and the length of the piece felt appropriate. At bar 28, I welcomed your inclusion of a sort-of 'connector' between the sections in the second trumpet; perhaps I could have done with more instances of this, though for the chorale-style I certainly understand why you did not (it isn't necessary, I don't think). Good job!
  28. Thank you, Luis! I felt that my catalogue was lacking a set of piano pieces, so I felt this to be the perfect motivator. As for the pieces you mention, the serenade was composed to replicate the movement of the fish in the water -- jerky, flowing, liquid. Occasionally, they kick up sand and create a cloud of uncertainty. The dirge is very different. The notes are deliberately empty, using whole notes and the like to further reflect the feeling of solitude (at least for the pianist who is reading it). It is a stark piece with a measured, cog-like movement. Additionally, I intend for the two pedals to create a compounding effect, in essence, muddying the sound.
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