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Hello, It's been a blast listening to all your pieces for the past few weeks. I joined this forum many years ago when I was a "young composer". Writing music has always been a hobby of mine, though I am no longer a "young composer". I have a career, I have a family and I have kids. So, this is a song about my two boys. I wrote a set of 14 piano pieces for my kids meant to be played as a set last year. I've been working on getting the sheets engraved nicely and making some nice recordings at home on a grand piano. This one is called Kid's Perfect. It's a bit of a play on words I guess. The idea behind this piece is that I'm just messing around with perfect fifths. The twist is that I challenged myself to only play 6 sequential perfect fifth notes in any bar/phrase. So, it all starts with FCGDAE, or the first 6 notes of the C major scale rearranged, or a D minor 11 chord. I guess it's all the same thing in some ways. But I try to make it a bit more interesting later on. Thanks for listening, and let me know what you guys think. If you crank the volume up, you get to hear the rich harmonics that resonate in the piano sound board. https://youtu.be/U4IetXzY2Us

OK. They’re different things. I don’t think these systems can be compared because their foundations are very different. That doesn’t prevent them from being used in combination or simultaneously. What I said in my previous message applies to anything in music. If you introduce something completely unrelated to what’s playing—suddenly—and it doesn’t reappear… it will be perceived as a mistake. That’s why, if I were to do something like that (and I know I’ve done it many times—after all, modal exchange in tonal harmony is based on this very principle), I would combine both systems as the piece unfolds, so that it doesn’t sound strange. Repetition in music gives a piece familiarity, coherence, and memorability. Another way to do this—though I think it goes beyond what you’re aiming for, since it sounds much more radical—is what was common in Bartók’s music: polymodal chromaticism. That is, writing simultaneously in two modes. One can be tonal and functional, and the other can be non-tonal. Here: BARTÓK: CROMATICISMO POLIMODAL

Hello, everyone, I hope you’re all doing well. After quite a long time, I’d like to introduce one of my new compositions to you. It’s called “Duo for violin and cello.” It’s not exactly easy to listen to, but I believe some of you might enjoy it. Unfortunately, I’m a poor student, so I can’t afford to pay live performers, that’s why the recording was once again made using VSTs, but it’s better than nothing :) I’d appreciate any comments. Thank you very much.

@Lithl I agree with your comments. I had considered lengthening the opening, actually. I couldn’t quite pull it off but there must be an effective way to extend the idea. It’s interesting that you and @Luis Hernández expressed disengagement with the ending, that is the first and only genuine tonal cadence. My rationale was an attempt to somehow merge the tonal and modal into a simple and relatable narrative: anguish first, uncertainty in direction that follows, before a somber finish with a picardie third cadence that offers some form of renewal. That was the concept, anyway. I can certainly play around with it more, but i have a question… If a tonal conclusion is not satisfactory for this type of music, where the expectation is perhaps sustain ambiguity above all, how should it end? I am aware of layering technique in this genre, where essentially in the latter sections the music just falls away - disintegrates if you will - as a collapse. It leaves not resolution but a lingering unease. In the ‘more’ tonal music of Jeremy Soule, he sometimes ends the music with a central motif but with ‘messy harmony’ with ‘sonorities’ that correspond not with the harmony but contribute towards a lush atmosphere that sounds beautiful but does not make much logical sense. I’ll share it, if you want to hear.