AKAChristopher
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detail your hide over to Arnold Schoenberg's Theory of Harmony, not a theory textbook at all as it does more than merely tell you what has been done in the past but also the 'why' of it. it is a long, arduous and absolutely fascinating read for those of us who do not want to take any shortcuts that will lead us into a ditch.
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Sounds like Mahler in some respects.
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I used the F# minor fugue theme of Shostakovich as a starting point. I don’t particularly care if the result of this is this or that thing or something else. Yes, it was improvised.
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very nice all around. reminds me in many respects of some of the 'great masters'. now...some ways down the road it would be nice to hear a work that reminds of me the 'great Nazarly' and of no one else. i look forward to that with eager anticipation!
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nice but perhaps you are not reaching for the galaxies but only local stars? extend yourself and your art, you have a talent and it should be FULLY exploited! i say this even in view of your description of this form. individual lines from the works of Shakespeare are nice enough but long-form plays will always carry more meaning.
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i have recently been pondering how various approaches to compositional processes influence eventual output. is it best to decide in advance how things will be ordered, the exact musical constructs that will be explored or does a more free-form approach work better. perhaps is it best not to try to plan things in too much detail. why A-B-A-C-A-B-Coda? why combine everything into one? if because a certain musicality has taken place around these ideas in your musical being then that is good. if not, then maybe not.
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ok, heard it! quite nice, nothing to add to the on-point comments already posted except to say that the last flourish is very exciting!
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well, i am reminded of that old Woody Allen line..."the food at that place is horrible but they give you such big portions!" this is just a general comment, i have not heard your piece yet so i am not putting it down at all.
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why? did a flow of certain musical ideas that came to you suggest this structure? or was this an arbitrary decision? how many of those sections have been composed or at least been thought of in some detail? i do not mean to suggest that your approach has been wrong, i am only trying to get an idea about what it is.
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this is so beautiful throughout! i do wonder if the first two sections are a bit too similar in style and feel. the third section with it's "Clair de Lune"-ish hints and other motives is as breathtaking as such a short length is likely to allow. the final part, subtle and absolutely un-overblown is a fitting denouement to what has come before. i find it difficult to recall a work here that seems so self-assured as this one.
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you can ask MuseScore for very big lot! try it
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To fit entirely within it? Or as one of multiple movements? Perhaps the second approach is best. Follow-up with additional movements of extreme dynamism and contrast. No particular need to worry about fugal format. The coda-like section starting around 3:49 is a very effective end which somewhat paradoxically seems like more of a beginning for later music to come.
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thanks for your kind words. it is interesting - to me at least (!) - that i did not consciously use early motives in later passages. i constructed this measure by measure with ideas that presented themselves to me in my inner ear being notated down as i went along. i suppose it is not un-common for a composer to become so imbued with certain ideas that they are used in an almost automatic fashion throughout a given work as i feel happened here. of course there are other more thoughtful and conscious approaches that can be used and i don't mean to make too much of what i did here or how but i think i learned at least some small things about certain aspects of some compositional processes even given the somewhat simplistic work that was created/found.
