Sergio G. Serrano

Hmm, you make your suggestions man. How about some deeper knowledge on non-functional triadic chords? Like.. more on the understaning of how they work between them and how to connnect them properly. I think that'd be a good starting point!

Thanks Christopher! I'm really trying to figure out how to weave the elements in a more coherent way. I was even thinking that I should leave the last section as a piece in itself because I might find it hard to transform it without taking out its esence. I have been working on the other sections as well. I might have a general draft by next week so I'll post everything.

Again hahaha, I totally forgot... but the Praeludium is actually electronic music, a very dreamy sound collage I created, I try to make a sort of counterpoint, between several voices.. sounds and samples. It's a mood setter. The voice is saying I-N-H-A-L-A, which means inhale in Spanish. The piano is only supposed to play a drone, like a trance state, starting fast and getting slower and slower. I'm working on that. I have it recordad in m4a, so I can't upload it, if you can, I uploaded to my Myspace account.. MySpace.com - Sergio Guillermo Serrano Rodr

I forgot to say, VI has only 21 measures, a number Schoenberg was particularily fond of and also the use of seven is important, as he does in Pierrot Lunaire for example, even in the title.. Three times seven poems from Albert Giraud's Pierrot lunaire.

Thanks for the comments Christopher! Yeah it is definitely hard to understand the whole picture with such incomplete parts, the primary purpose was more of an aesthetic and harmonic appreciation. Sorry for not even putting the name of the piece :S! The piece itself is called Nachtklaviermusik (Night piano music) and it is based strongly in surrealist aesthetics. The pieces are not totally connected per se, formally. As based on my understanding and conceptualization of dreams, seldom parts of a dream seem to connect, yet.. it is the same dream. Not necessarily there is a sequence or strong sense of coherence, in this case translated in the spare use of the harmony you mentioned. The structure of the piece goes like this: I. Praeludium II. In der Traumform I (In dream-form I) III. In der Traumform II (In dream-form II) IV. Ohne Form (Without Form) V. ...

I post here three sections of the piano piece. I think they are the most polished ones.. I still have a mess with the others though because I had previously written a sort of sonata but I ended up destroying it and I will use some of the material there to finish it. Included here a midi and the score. Thanks! Sergio. :thumbsup: II - In der Traumform I.pdf II - In der Traumform I.mid VI - VI - VII - Postlude und Ruhe.mid VII - Postlude und Ruhe.pdf