jejrekmek

only listen to this if you'll listen to it all the way through

if anyone actually knows about mixing and has any advice let me know

skip to 3:30 if you get bored of the vibraphone intro lol

there’s more where this came from

all I know about axis theory is that it has to do with transposing chords across minor thirds, which is something I do. tbh I mostly wrote the harmony on intuition. I can give some random thoughts the opening chords are built on two sets of minor sixths, the left hand moving up a minor third and the right hand moving down a semitone. I view m. 10 and m. 45-48 as extended V-I's (Db to Gb). the extensions leave us only a glimpse of the dominant-tonic relationship, which gives the sense of a lost innocence or something of that nature as for the the messiaen-like section at m. 22, it's grounded in pedal points cycling in major thirds (E, C, Ab). The section concludes with the Ab pedal tone, which acts as a iv chord to Eb minor. (and in modulating to Eb minor, the right hand plays B-D#-A#, and then plays D-F#-C#, so there's more of those minor-third shenanigans). The "bell" chords in the high registers of the piano have a few recurring elements. oftentimes there is a chord in the left hand which is played simultanenously an octave or two up, only moved down a semitone, creating a major-seventh dissonance in every single note. (example: m. 22, Eb minor over E minor). I often use Minor-major seven chords, augmented major seven chords, minor major sevens with a raised fifth, and minor major sevenths with a flat fifth. so in m.33-34, I constructed the chords as a G# minor-maj7 sharp 5 with an Eb melody on top; G minor-major7 sharp 5 with a Db melody on top; and B minor-maj7 sharp 5 with an F# beneath, respectively. you may also notice a couple occurrences of chords with a two major thirds separated by a major-seventh interval. (example: m. 54, C E B D#). another note on m. 53-54. I constructed this as another one of those "uncanny-valley" V-I's, being G to C. The G chord is: G, F, Bb, Eb, Ab, and the C is the aforementioned: C, E, B, D#. However these two chords are interrupted by another chord: Bb, Gb, D, F. so calling it a V-I is an even bigger stretch. however that intercepting chord was constructed as being a Gb augmented major-seventh chord, which is a tritone away from C, so I guess there's more of that axis-theory stuff. the ending sets up a V-I to Eb minor: Bb, D, Ab, C#. and then B, D, Ab, Bb, which I saw as a Bb dominant chord with a b natural in the base. Then the base jumps down F, and the D, Ab, and Bb are repurposed as the natural sixth, minor third, and fourth of an F minor chord, which "resolves" to the final extended C minor chord. there's also a few sus shapes in this piece. I'm particularly a fan of this, i guess it's a major-add4 chord in second inversion. for example, in m. 38 on the third beat, the right hand plays a sus 2 shape: Eb, F, Bb, while a D plays in the base, creating this particular chord. I also realized there's a type in m. 31 on the second beat, the left hand says E and G when it should be C and E.

@Ivan1791's habit of writing "dark preludes" kind of inspired me. also toru takemitsu

can we make this giant 6 6a youngcomposers in-joke 6

my name is skyler white yo. my husband is walter white, yo. very sweet melody :'3 that texture/rhythm at 0:38 is unexpected and cool

according to the "works with few reviews" section this post has negative 1 replies so thats pretty cool congrats on that

it’s melodica not accordion lole

cool harmonies and development! I love the climax the opening sounds like the opening to scriabin’s sonata 10

Ive been inspired by phil elverum’s music especially the glow, part 2. anyways I have a new piano piece and will post that once I refine the score.

Takemitsu just in general has written some of the darkest pieces i've ever heard

some tracks from extremely weird games made by japanese artist osamu sato in the 90s