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I do have to admit the general textural density remains quite staunchly homophonic-sounding for quite a good few passages, mostly in the developmental section. As with my previous motet, the main focus here was once again textual intelligibility, so in order to break that lack of variety in note values and durations across voices I would need to add in new passages or modify the existing ones by pruning the underlying counterpoint to accommodate for longer values, which at this point seems... somewhat unfeasible, to put it lightly. I could have added an Amen section at the end but after repeating the same incipit in the stretti and then following up with a Da Capo al Fine at the very end, I doubt it would have made much structural sense compared to, say, placing it right after the "Qui vivis et regnas in saecula saeculorum" phrase where it is normally expected to be ennunciated. Nevertheless, pondering your suggestions has made me realize that the underlying structure was not calculated thoroughly enough, and even if it does have a clearer sense of direction, structural integrity, Fortspinnung, etc. than most of my other compositions by my usually fairly chaotic standards, it still falls short in the end. Had you not pointed out the textural flaws I might not have considered the whole absent Amen tangent. Thank you kindly for bringing these points forth.

Thanks for listening and leaving a nice comment. I don’t write in score and I’m really slow at doing it afterwards. I recently finished my first opera and I’m in the process of putting it down into score. So, possibly at some point I’ll upload this one.

I've taken to another exercise from Chapter 8 of Persichetti's "20th Century Harmony" - "Compound and Mirror Harmony". This time I've chosen Exercise 7 - "Move a chamber group through several mirror chords where the reflective harmony is generated by the same tone and by different tones." In this case he is referring to using symmetrically invertible scales just like in Exercise 8 which I already did. In that exercise I built the respective mirror scales on the same tone (C) so in this exercise I sought to build the mirror scales on different tones only. I also created an inverted canon at a 10th and a quarter note between the Oboes and Bassoons. I used the following chart from the book to simplify the exercise for myself (so I used E Mixolydian in the Oboes and C Aeolian in the Bassoons). At one point I switch the Oboes to Ionian and Bassoons to Phrygian, just like in Exercise 8, but this isn't accompanied by key signature changes. Thanks for reading and for listening! I would appreciate any of your suggestions, comments, critiques or observations! Persichetti Exercise 8 - 7.mp3 Persichetti Exercise 8 - 7.pdf

Thanks! Glad to hear another potential working on these prompts besides just me and @Luis Hernández ! I don't know if I'll be looking to expand pre-existing pieces that I wrote based on the Persichetti exercises. I think once I sift through the whole book and do exercises from every chapter, I will start the book again at the beginning and comb the exercises for potential prompts that could be utilized to write longer, more substantial works. I still don't know if these exercises are conducive to longer form works honestly. But I am also amassing my own google doc with prompt ideas inspired by these that I could use in the future to write more music, so who knows! Thanks for your comment!

This is super cool! I love the Persichetti book and have done a lot of these exercises in the past. Really nicely done. I personally think you did a great job with the inverted canon - very impressive to keep it in pure canon the entire piece. I wonder that if expanded, it would be interesting to change the distance of the canon the same time you change the modes used. The effect of having multiple articulations (slurred to staccato eighth notes) happening simultaneously is a fun touch.

Here my new waltz hope you like it i would like for harmony Waltz.mp3 Waltz.pdf

Thanks for sharing! Just to clarify for myself and others who may view this post, are you looking for comments of any kind?

When did I speak? 🤪

We meet again @Vasilis Michael or should say: Mr. Schubert. ❤️ While it says it sonata, the overall does not follow what we think in that sense. That is why there is the clarification: binary. Binary implies AB. We must ask this follow up question; How did manage write a Binary sonata? Rather easily. Muzio Clemeti wrote plenty of these. However, what I am impressive this time is the dramatic pause after the TR zone that leads up MC. I did not expect to hear that in early classical sonata(binary) form. To me, that is something that Haydn or Mozart would do. As @Henry Ng Tsz Kiu noted this does sound like Scarlatti. But I am extended the olive branch further and saying Clemeti, too. Late barque and early classical sonatas are rare to hear. It is refreshing to hear.

You do an excellent job here of exploring interesting harmonic ideas and making each line its own interesting melody. I wonder how this would sound with some longer note values as either a pedal in the bass or a slowly ascending or descending line to break up the texture a bit? (This would get your text out of sync between parts and less easily understandable, so maybe that's not something you want to explore). If you have a minute, could you add the full text and translation to your original post to help us all keep track as we listen without needing to open an extra browser window of our own and toggle back and forth? This sounds great, and looks like it would be interesting to sing!

You were mentioned!