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Based on the attached painting. This piece represents the stone through two different textural motifs. The first is the block chords, sparse yet rigid. Their fleeting nature resembles how the paintings appear on the rocky canvas, how they almost develop from the stone itself. As you glance over the wall, the art appears, and just as quickly disappears back into the rock. The second motif, the meandering fifths, represent the fluidity of the rock, the way the wind has shaped it into resembling something liquid, giving this solid structure movement. The two textures intertwine and interrupt each other, until they collapse into a wash of tumultuous arpeggios. Out of this tempest the final section emerges- while the texture resembles the first stony motif, the chords are stacked fifths, which calls to the second, fluid motif. Rather than interrupting and contrasting each other, they have learned to cooperate, and they slowly dissipate, together, into meditative silence. The two motifs are referenced through the impossible title: "Flowing Stone".

Thanks for the feedback! In fact, I have similar thoughts as well. I like the second prelude more, and after I posted them and relistened I felt the end in both was abrupt and needed more preparation. Perhaps the final measure should have had the final chord in the third beat. I appreciate your listening and detailed analysis!

Hello @Moueen Issa, I really like these two preludes, I think they are good pieces with a certain level of development that make them sound complete, but they are not long enough to be stand alone pieces. Therefore, being really effective as preludes. I like how the main motives in both pieces are simple and easily recognisable, so the listener can apreciarte the development throughout and pay attention to the counterpoint when this motives are occurring in different voices My favourite is the second one, since it has more of a driving rhythm and nice chromaticism (also, the melody is more catchy). Though the end is slightly abrupt. Maybe the ending chord could be repeated in the third beat? Thanks for sharing your music

Not at all. Most people don't understand that the purpose of avoiding parallels is almost entirely academic and is about teaching counterpoint. Anyway, When you have more than 4 parts, often the other parts are just doublings unless you are deliberately using extended harmonies. For example: Soli would have often more than 4 parts, and is entirely parallel. The other option, which I personally use a lot, is that your additional parts work with your basic SATB parts in a more "chord + melody" texture way. So for example, I'll have my melody in the brass harmonized in SATB, but I will have the strings and winds play runs or arpeggios on top which follow the "chords" that result from the brass harmonization. Something else I do a lot is that the other sections aside from my main SATB parts is that they will double the harmonies, but with a consistent rhythmic part or accents instead of being melodic. Another thing additional parts may do is provide resonant sustains in the background. So if I have wind choir that has a lot of staccato parts and rests, the violins may play sustain parts at a softer dynamic, but sustain tones in the wind harmonies. I'd recommend you watch this video for orchestral contexts. Frankly, it's one of the best on the internet. It contains demonstrations of everything I'm talking about.