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caters last won the day on February 14

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  • Favorite Composers
    Beethoven, Mozart, Bach, Chopin
  • My Compositional Styles
    Classical, Romantic
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  1. I edited it just now to include the topic.
  2. Here is my piece for the Secret Santa event. I finished it. And very quickly too. EDIT: @Left Unexplained said that I had to include the topic that I got as well as my piece, so here is the topic I got:
  3. So wait, what are we sending? I thought of messaging you but didn't know what to send.
  4. Well, the timbre of the piano is very homogeneous outside of the octave extremes. Plus, there is only so much distance that each hand can cover if doing simultaneous melodies as would likely be the case. I mean, the nocturne theme would probably work well on the piano but what about the birdcall passages? Those would likely have a quieter countermelody at the same time and possibly even within the same register. And then of course you would have the bass line and harmony lower down. 2 melodies in the same register is hard to get to not sound like a single melody being embellished if you have solo piano as the instrumentation and it isn't a fugue or canon, especially when you also have the bass line and harmony to consider. And what if the birdcall melodies and countermelody form wide intervals like tenths and twelfths at certain points? I can barely even play a ninth for certain notes(like playing a ninth with Bb as the lower note is hard for me) and I can't play tenths at all, not without the help of the sustain pedal, and in some cases using the sustain pedal isn't . In short, it would be a very hard piece to play piano solo, like easily Liszt level or even Rachmaninoff level, which is pretty doggone hard. On the other hand, getting those same things across with a trio is much easier.
  5. So, I just got this idea to write a piece about the morning. I already have a bit pre-planned, like I know that I want to start with a nocturne theme and have it get more full and bright until the piece ends to represent the sun coming up. I also know that I will probably want some birdcall passages. But I don't know what instrumentation to use. I don't think a piano solo would do this piece justice, but a trio might. So I decided to post a poll about this. Here are some details about each option. Trio This would definitely include a flute and would probably also include a piano. Whether it includes a violin or cello though, that's harder to decide on. Quartet Assuming that I still have the flute and piano in this ensemble, the question here would be whether to have more woodwinds or to have more strings. If I have more woodwinds, then I could have more than 1 bird communicating one after the other or at the same time. If I have more strings, then it would mean more fullness. Quintet This would most likely be flute, clarinet, violin, cello, and piano if I go with this option. Octet This would likely be a string quartet + a woodwind quartet. Symphony Orchestra Here, I have everything I could possibly need to get across the morning, all the strings, all the woodwinds, all the brass. I could add harp here, since that would probably go well with especially the nocturne theme. Sometimes the piano is used as an integral instrument in the orchestra as well. And I am getting into writing orchestral pieces, so maybe this could work as the first movement of an orchestral suite? What option do you think I should go with? Or do you think that I should use a different instrumentation like maybe piano duet?
  6. If you have a digital piano like I do, that's as easy as adjusting the tuner slightly. The digital piano I have can go up to a whole step sharp or flat. So I can get like a supermajor third(major third + 1/4 tone) by adjusting the tuner slightly. If you have an acoustic piano though, the closest you could get is half steps unless you have one of the quarter tone pianos that are rare but do exist.
  7. So adding more notes in higher octaves while keeping the bass register notes the same would improve this piece. Alright, I will consider that. Yeah. Like you could say that the Omnibus-like progression in my modulation to C minor develops from that short chromatic scale being extended, transposed, and inverted. Yeah, I noticed that after looking at it. In that lament bass section, the piano was descending and I figured I might as well have the cello descend as well. But I didn't just directly have the cello descend. Instead I made that descent out of ascending melodic figures. This naturally lead me to have the violin also descend. To counteract all this descent of the lament bass, I wrote only ascending figures in the flute for that section. I often end up with one of a few things happening with my counterpoint, those being: Parallel and direct octaves as has happened here Melodically compatible but harmonically incompatible after correction of any resulting parallel and direct octaves One melody becomes so virtuosic that it might as well be the main melody, even if that isn't what I'm aiming for I didn't know that. I know that I have used tenuto to mean that the note's length is to stretched a little from what is notated(When I use tenuto in a Largo, I use it to mean full value. When I use tenuto in an Allegro, I use it to mean full value + tiny bit of stretch). Fermatas, I use for an even longer stretch if it feels like it is pausing there. That octave does sound pretty wide. I have ended pieces with an octave gap between the highest note of all the instruments and the second highest note and I think this is the first time that an octave gap sounded unusually wide in the final cadence of the piece. I did once again use a wedge progression in the final cadence, where the cello and violin come ever closer to each other as the harmony goes iv -> V7/V -> V7 -> I. If I were to take the violin up an octave, on the one hand, it would resolve that wide gap. On the other hand, that is a leap of a seventh and if I were to just do it for the final note, it would kind of ruin the wedging into the tonic that I have going on between the violin and cello. If I were to do it for the whole 5 bars of cadencing, so as to preserve that wedging into the tonic, then there would be voice crossing between the flute and the violin to a significant extent. While there is some voice crossing in the piece as it is, outside of voice crossings with the piano, it is minimal.
  8. This piece I finished composing yesterday represents rain falling and the sadness of a person wishing that it stopped raining. The legato represents the sadness and the staccato and tremolos represent the rain itself. There are quite a few modulations that occur in my piece. Here they are: E minor -> G major -> A minor -> E minor -> C minor -> E minor The modulation to G major is the shortest of them all. Counterpoint over a lament bass progression in E minor that several times moves to a G major chord, confirmed by a V7 -> I cadence in G major. The other modulations are longer. For the modulation to C minor, I used a progression similar to the Omnibus progression. This is the progression I used: E minor -> B7/D# -> B+/D# B°7/D -> C minor The soprano line of that progression goes E, F# Fx, Ab, G, so not quite chromatic all the way through, but with the upward motion of the soprano and the chromatically downward moving bass, it sounds very similar to a true Omnibus progression and is what is called a wedge progression. The modulation back to E minor from the C minor is a string of diminished sevenths moving up to D# which then resolves to E minor for the final presentation of the first theme. I made each presentation of that theme just slightly different so that it would sound both recognizable and not too repetitive. I also balanced homophony vs counterpoint here. The E minor, I separate into 2 sections in all but the last presentation of it, an A section which is the first theme, and a B section which is the counterpoint over a lament bass. I gave my piece a poetic title because why not. I'm not just a composer, I also write poems. What do you think of my piece? Do you hear the raindrops in the music?
  9. Me too, it goes from the simplest structural units of motives to phrases to simple forms like Binary Form(which can be and are often used in larger forms such as rondo form(I mean take for example the Rondo from Beethoven's fourth string quartet, each section is in 2 parts, like binary form.)) and ends with a long and detailed explanation of Sonata Form. So it is like the chapter structure was built around the genesis of a sonata or something.
  10. Thanks, I'm glad that it isn't just me seeing improvement but others too. Yeah, I did notice that crunch which is why I asked if I needed to adjust the harmony. Knowing that I could go way simpler than the circle of fifths that I initially used is nice to hear. Thanks for the suggestion, I will try that and see if this gets rid of that crunch. I'm thinking that possibly it's the staccato that is bringing that crunch, so maybe I should try to get a smooth legato between each of these chords and then see what that implies for the staccato. That's good to know. I'm not aiming for a sudden motion to another key here. And thank you again for the suggestion, I will try it.
  11. The piece I am writing is a representation of rain falling, thus the staccato accompaniment and the minor key and even the name of the piece being Tears of the Sky. I have 3 sections so far in my piece, though there will be more. One thing I have in common in all the sections so far is a pedal note. Here are the sections: A - Staccato accompaniment + Flute melody - E minor - Bars 1-12 B - Octave and chord accompaniment + Counterpoint between the cello, violin, and flute over lament bass - E minor later modulating to G major - Bars 13-23 C - Staccato comes back + Violin melody - G major later taking the circle of fifths route back towards E minor - Bars 24-32 The C section is what I'm asking about here, particularly starting at Bar 30 where the modulation back towards E minor begins. That said, I wouldn't mind getting feedback on my A and B sections as well. You see, this is what starts the circle of fifths modulation: A D7 chord, which is moved to from a G major chord so I -> V7. From there I moved to A major, which then just continued the circle of fifths motion. By the time that the sequence has been played 4 times, I end on A minor. I know, I could have gone straight from A major to A minor, but I thought I needed to balance the short modulation to G major with a longer modulation back to E minor if you get what I'm saying. I'm wondering though if I need to adjust the harmony, because, I am hearing a bit of unexpected crunch there in the circle of fifths progression that started with a simple chord relation. It all feels resolved to me at the A minor harmony that ends the circle of fifths progression. Perhaps this is a sign that I should continue in A minor for a while before landing back in E minor. But anyway, does my harmony there need adjustment or is it fine the way it is? Here are the MP3 and PDF of what I have so far.
  12. I myself find that augmented triads, while they are said to not be directional unlike their diminished cousins, I feel a direction from the chord, As an example, if I take a C major chord and sharpen the fifth, I find that while it can go to C major nicely, it actually has more of a tendency towards A minor being the chord of resolution, with G# being the leading tone. In other words, out of context, I hear an augmented triad as the III+ of the relative minor of the chord's root. V+ and I+ I only really hear within context(V+ within a chord progression, I+ mainly in chord alternation).
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