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Monarcheon

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Monarcheon last won the day on March 1

Monarcheon had the most liked content!

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About Monarcheon

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  • Biography
    My job as a theorist and reviewer is not to force changes or ideologies into your music, but to make you question your decisions and beliefs in the process. Being able to defend your ideas not only makes you a better musician but a better-equipped human being, and ultimately, it's our job to be both, even while only exercising one at any given time.
  • Gender
    Female
  • Location
    USA
  • Occupation
    Composer, Conductor, Arranger, Administrative Assistant
  • Interests
    Cooking, Music, Drama
  • Favorite Composers
    Gershwin, Ravel, Webern, Shostakovich
  • My Compositional Styles
    Maximalist, Modern-Classical, Musical Theatre
  • Notation Software/Sequencers
    Finale 25, Logic Pro X
  • Instruments Played
    Cello, Guitar (classical), Piano, Violin, Percussion, Conductor

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  1. I might recommend a deadline, so we're not blindsided by an extra person joining in at the last minute... but maybe that's my competition moderation mindset coming back 🙂
  2. I'll bite. Sorry if it takes a bit, though. Let me know when to send things to Jean.
  3. Interesting! I love your ideas here. Are there restrictions on those topics? I ask because some people might end up with more or less to work with. Or is that the idea?
  4. Probably that. The way I read it now is stop the bow but use the same stroke. I also do see that stratification is a theme throughout the piece (to me, culminating in the tritone register split followed by a diatonic cluster at the end of the cadenza). The short term jumps in this process might have been what prevented me from hearing the whole thing as a process to that end, but I'm not entirely sure.
  5. Your bowings need serious revision. mm. 11-14 are insane. I really like the development. The expo and the recap throw me off especially when there's a pattern of the piano outlining a cell repetition and the violin doesn't interact with it's not clear that it should be; that is to say, it sounds stratified. I'm also not totally sure how effective the cadenza is. Because everything is so tonic centered and metrically adherent to itself it sounds empty when I don't think it really needs to be; other double stops without the open strings might be interesting. The ending is also nice. 🙂
  6. (C+ = E+) = ([C E G#] = [E G# C]) = ([C E G#] = [E G# B#]). E+ = V+/vi in C major.
  7. No. Unless you're doing a tritone substitution, a V+ chord has dominant function while augmented 6ths have predominant function. V+ is pretty normal rock + musical theater chord because the sharp 5 voice leads nicely to the major third of the tonic.
  8. Watch out for parallel dissonances (i.e. Nocturnal m. 6 in both right hands), and this applies for any two set of voices. If it's a short-term voice exchange it especially needs to be considered carefully.
  9. Is there a reason the strings start on C instead of a triadic chord tone? There's the potential for the pitch of that to move in homophonic harmony to the rest while keeping the upper notes constant.
  10. For some reason I couldn't get into the flow of these, especially the first one. The tonality shifts like Rach does, yes, but in combination with the constant change of momentum it felt like getting nauseous on a rocking boat. Coupled with its sparse writing it ends up sounding, to me, uncomfortable.
  11. Liked this a lot. A couple points where the counterpoint may fall a little bit like 1:41 with the stepwise bass passing tone not meshing particularly well, but on the whole it's nice to listen to.
  12. The don't double the leading tone rule is a recurring thing in this piece. Makes me think it's deliberate, but especially on vii˚ chords and V6/5 it's very noticeable.
  13. Pretty nice. I would maybe reconsider the role of the clarinet and some of the lost momentum that occurs throughout the piece. The clarinet seems very melodic, but not very flowy which is not bad in contrast to the bassoon, but in times like the return of the A it opens up some opportunities to match the nice counterpoint you already have instead of sounding empty. Points where the piece lose energy are nice when it's like the augmented sixth chord before V, but harsher just before the return of A. The potential for this to be a continuous string is high. Also, the beaming on your parts in 6/8 is incredibly strange sometimes.
  14. The voice leading rules aren't the only thing in that book. The chord construction ones are also important and there are a lot of tones that function as accented non chord tones when the main tone they embellish is itself a non chord tone.
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