BlackkBeethoven

So I took some time away from the piece, and I let it rest for a bit...Now I have more material, but I'm editing some of my original harmonies P.S - My horn part sounds TERRRRRIBLE b/c I think I transposed it wrong, but I'm posting anyway b/c I'm kind of happy wit how it sound overall so far Notes: - Wanting some more cinematic harmonies & fullness - Smoother modulation -- the chord progression I was going for : (descending line in 6ths over the top of the chord changes) Ab6 - Abmaj7 - Abm6 - E (#11) - Bmaj7 (7-6 suspension) - Smoother inner lines (aiming for 3rds, but idk if this is getting the desired effect) - How to incorporate the other instruments in a way that's smart and adds to the piece oboe.pdf

I wasn't wanting to modulate there...I was thinking of staying in the B M/G#m area

Hey everyone I'm working on a new piece - not sure if it'll be for clarinet, but that's what I'm starting with. One area that always get stuck at is expanding my melody - any advice? My melody so far 👆🏾 Harmony/sketching things out 👇🏾

Okay so another example - this is something I've been playing around with Page 1 (option 1) Option 2 (Eb to Abmaj9/Bb) Idea for the pickup for more umph Page 2

This would be in the "chorus" or "refrain" section of the piece, so I'd like to be the peak harmonically.

Thinking of some places for movement

This is 🔥🔥🔥 Do you see any spots where I could incorporate that into my piece? Yes, I agree...this is something I love to hear, but I never know if what I'm adding will fit the text or vibe of the piece. And it's something I will do at cadence points, a simple one I like to do looks like this. And it always has a nice fullness to it, slightly crunchy, but in the best way.

Ahhhhh this makes sense...

Not exactly sure what you mean by "chorus effect" I think one thing that I wasn't articulating was arranging the parts (this is partially contingent on the melody), so that there's a peak and the song doesn't just say on the same plane for the whole time. For example, "Abide With Me", is honestly pretty standard, part-writing wise, but it has peaks.

Like this? I like how this sounds

I honestly was thinking it might be this one, but the fullness I'm looking for comes more from listening to pieces being played live. That might be it and adding more color to the harmony Thank you @PeterthePapercomPoser!!

Oh good!! I've been working on my part-writing Hmm that's a good idea - in what spots do you think it would work? I'm having trouble articulating it, but I sent some examples to give an idea of what I'm trying to achieve.

Added more parts I like the Dbm(technically Dbm6) to the Bb, but I'm not sure.

I think I'll stick with harmonic fullness for as of right now. I find that starting with 6ths between my S and T voices allows for an open, broader sound. Which allows the parts to sound big. I've actually noticed that I rarely make edits after writing the initials SATB and transposing for the different instruments. Any edits I make are between the 4 parts and just making those sound as good as possible. First system of the piece I'm working on to show how I write step by step.

Just full 😂 It may have to do with instrumentation, but I work with an instrumental ensemble that plays SATB arrangements.