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Monarcheon

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Everything posted by Monarcheon

  1. @KJthesleepdeprived, many thanks for requesting that "destroyed works" thread be overturned. It irked me a little bit as well. I've seen people come and go from this site, and was around for its main, populated phase for just a little bit back then. When I came back, it was relatively empty. I sound like one of those sheriffs you see in westerns. I'm a masters student in music theory in Canada right now (though I'm from Seattle), focusing on 20th century art music mixed with jazz/musical theater. I've had a rough history with writing music, so my whole ethos of composition is totally messed up, but I'm trying to find a nice middle ground with it. Before comp, I was originally going to go into physics and environmental science, but that didn't end up panning out and I don't know if it's for the better yet lol.
  2. I definitely am most of the time (you'll see when I post my Christmas music!); this was written for a friend who kind of hinges on the edge of enjoying modern stuff. I don't plan basically anything I write, so the fact it comes off as repressed as opposed to slow/boring is just as good as any compliment. Thanks!
  3. So I'm not sure how to feel about this piece. It's not really bad– everything is cohesive enough. Maybe I'm not used to writing in stasis anymore.
  4. The idea of it is pretty cool. I like how the beginning comes back near the end of the exposition, but it seems a little heavy handed at the beginning in order to achieve that effect. What might be cool moving forward is preserving hexachordal combinatoriality with the start of that figure horizontally and vertically, since you seem to already want to do that in places like mm. 21-23. Finding a way to invert that combinatorial figure vertically would give you a lot more early-position row forming down the line that all sounds similar.
  5. This is an interesting idea. I think it's a little bit of a shame how PC6 was delayed from P0, only to just kind of show up in an inner voice. M. 18 also seems a little bit empty compared to the relative motion of the passage before it. It's a neat idea for a piece, though! Nice to see some different stuff on here once in a while.
  6. Everyone is welcome to contact me if they have questions about any of my scores! @Gustav Johnson, if you'd like to start a new thread for ideas, you can, but since I mostly run that portion of the forum you can just message me if you have a specific idea you want to elaborate on.
  7. There's not a lot of... motion in this piece. Most everything is pretty static and it takes away from moments that might otherwise have more weight; an arpeggiated eighth note figure doesn't resolve this. At bigger points like the place where you have marked forte (the blank measures), it seems like a very musical theater-type high point, and my advice there is to try to find some sort of way for the past vocal material to form the counterpoint against the voice. Even better if you can insert snippets of responsorial passages in between measures as retransitions.
  8. Thank you to everyone who participated! It was super fun being able to see a truly full competition again, after a lot of hard attempts to get off the ground. I'd like to thank every contestant for bearing with us judges as we worked through some new and malleable competition terms, but I hope it still made a for a fun, creatively nuanced experience that'll assist with your thematic development down the line. Every single person contributed a lot, and it was really fun to listen to new ways to take old stuff (see our old Theme and Variations competition); every piece had a wonderful arc and I appreciate you all for joining in! Without further ado... the places: 1. @Gustav Johnson – 91.5/100 2. @Tónskáld – 91/100 3. @Noah Brode – 84/100 Congratulations, Gustav! The chart with my and @Luis Hernández's scores is attached to this topic post and contestants will find their individual remarks in the comment section!
  9. If you don't already know what they are, I would suggest you look into what we call Neo-Riemannian transformations. I don't know if you're consciously using isographic patterns or not, but they work really well in this piece.
  10. If you're aiming for a baroque style, there's lots of parallels i.e. 4ths between beats 1/2 in m. 2, octaves between beats 3 and 4 of m. 2, 5ths in bass/soprano of m. 5, and more. The inversion of the theme was nice, and I enjoyed the commitment to movement you had, even though it might get a little too tangled for my taste like in m. 5.
  11. Embedded phrase model (EPM) is the presence of a full Tonic - Subdominant - Dominant - Tonic (i.e. I - IV - V - I, I - ii6 - V - I, i - N6 - V - I) within a larger harmonic structure. This often serves to prolong the tonic despite the changing chords.
  12. # of guaranteed works reviewed: 5, up until December 10th, 2019. Special Writing Requirement: Use two of the the three techniques highlighted. Post LINKS to desired reviewed works from the appropriate forum space in the comments, not the works themselves. Extended Use of the Tritone Three things will be covered in this masterclass: 1. Tritone substitutions and their use in jazz 2. An extension of this theory that I personally investigated: difunctional implied tritone shift or (DITS) 3. Tritone key-center relations and common through common tones. 1. Tritone Substitutions: In the above example, the first section details a deconstruction of what a tritone substitution is and what it can be used for. For any dominant seventh chord in close root position, the tritone within can be extracted. Inverting this tritone and giving it a new root that similarly forms a dominant seventh chord creates a new chord, coincidentally a tritone away from the substituted chord. In the example, the E natural becomes an F-flat in order to work correctly in tonal space. In the middle section, a simple chord progression is given: a standard I - IV - V - I, embedded phrase model, or EPM. The final section substitutes the third chord (V) for its tritone, using the same chords from the first section of the example. Notice that in classical terms, this looks very much like a German augmented sixth chord, that resolves to the TONIC instead of the DOMINANT. Despite being related by bII to the tonic, it does not quite have this function either, as an N6 chord has implications in going to another dominant; on the contrary, it has become the dominant. The three examples above show different versions of a relatively identical melody (these are heard in the attached audio file "tritone examples". These examples are more jazz-sounding than the previous example, as this is where the function is primarily used: I. Standard, normal chord progression with a normal perfect inauthentic cadence (V7-I). II. The V chord is substituted for its tritone sub, bII, since in G7, the tritone is B and F. Inverting this, the tritone is F and B (or C-flat), and the proper dominant seventh chord formed with this tritone is D-flat dominant 7th, but the example adds more extensions and actually omits the b7 in favor of the voice leading. III. Not just the V can be substituted! Passing chord can be created by substituting a normally secondary-related chord. In this case, F7 (tritone E-Bb) is substituted for Gb7 (tritone Bb-Fb), which with the melody creates a brief spicy X7(#9) chord, which is chromatic stepwise in the bass. 2. Difunctional implied tritone shift (DITS): This is mainly an analytical application of the tritone, but it is related to the tritone substitution, but without the inverting of the tritone in any given chord. In the example, a reduction from "Shy One", an art song by Rebecca Clarke, the Eb major chord is a bVII relation away from the tonic of F major. If you use the principle of the tritone substitution by adding the seventh to this chord, and instead of inverting it, simply shift it down so that the lowest pitch class becomes the root, an Xm7(b5) tonality will be heard instead. In this case, Gm7(b5) (tritone G-Db) from E-flat7 (tritone G-Db, Db implied), would be the resulting chord, which is bVII related to the following chord, A major. In other words, this is a way to explain the relation between F major and A major, with the given passing chord. 3. Tritone-related formal key centers In the above reduction, the second chord shares a common tone with the first chord (G or F double-sharp), and the second-to-last chord shares a common with the final chord (C#). Using these common tones, it forms an extended common tone modulation, where the beginning of the modulation and the end of it have different common tones. The common tone at the beginning obscures the fact that it sets up a preliminary modulation to the tritone related key of C# minor (could have also been major). The common tone-related chord after that establishes an altered dominant-related chord from G major, though this is not necessary; the main attraction of this method is to use common tones to hide the fact a tritone is the new target of a harmonic progression. In addition, the fact that the final chord in the example is altered gives an overall EPM of all altered chord, where the C#m chord can be interpreted as an altered subdominant function to the altered dominant of V.
  13. @Noah Brode You certainly can in spirit, but not officially. The theory is yours to use; it doesn't have to be tied down to a masterclass format. The only reason that formal format exists is so that composers can get guaranteed feedback on the use of the techniques.
  14. Haha, thanks, I guess?? This whole suite is supposed to be pretty low-key; I certainly don't criticize Webern for not using many notes. Yikes. They were compilations from a Sketches project I did a few years ago, writing a piece a day for most of a year. Those just so happened to be the jazzy ones. Glad you like them, though. Haha that's kind of what this piece comes down to. Lots of atmospheric stuff; I write pretty maximalistically normally, so coming down and writing with just a few notes/patterns was a challenge. I have a few of each on the forum, but most of them are bad. The 2 harpsichord fugues I've written are the only good baroque pieces on here by me. Most of my compositional style is either musical theater related, or neotonal/modern. Thanks, again!
  15. I daresay I almost like this better than Beethoven's own work. My main thing is that the repeated triplets whenever there's an interval involved can feel a little heavy-handed without variation. m. 27 to the end, for example, was a nice A∆9, but that ostinato really become obsinate-sounding (which is what its English translation is), and a little too foreground for my taste by the end. Lovely work, though.
  16. If I have time, I'll write a little comedic 12-tone or some sort of set-theory based adaption. Short and sweet, as I think it'd be enough to give the audience a good little laugh.
  17. 也请花点时间对您自己他人的作品发表一些评论和反馈。帮助系统运转
  18. Please also take the time to leave some reviews and feedback of your own other's works. Helps the system go 'round 🙂
  19. This is the main reason. The bass sounds like it's doing a typical V6/4 - 5/3 - I motion (or V8-7 - I), while the soprano sounds like a prolongation of tonic scale degree 1. Sounds like you're trying to have it both ways.
  20. Lots of 4ths. Not wrong most of the time, but be careful; in Fux's time, emphasizing the fourth via 5-4 suspension is an accented dissonance without proper preparation. Leaps should be followed by stepwise motion in the opposite direction (i.e. mm. 7-8). Leaping away from a dissonance is also not the best (i.e. m. 5).
  21. I'm not an expert, but I was almost an ethnomusicologist. I would encourage you to not think of raga so much as a set of notes or a mode and more of a color, a sort of feeling (in that culture's words) that is associated with a piece, not a mode. Only thinking about them in a Western way can you begin to think of the raga as modes (that are not tuned the same way we do it; just intonation is far more prevalent, and even then, it's not consistent), which are pretty internet-able, though there are so, so many. The main difference between raga and modes in a practical sense is that a raga, way it may have a "tonic", have each of the different notes serving some sort of particular function (different emphasis somewhat like Medieval church modes, are different rhythmic emphasis (tabla) when used in a certain contour).
  22. In m. 4, Bass moves from G to F and the tenor moves F to E-flat. Also, I'm not sure you quite get what I mean by mode mixture. In m. 4, for example, in beat 4, you have both the B natural and the B-flat. This is common in English madrigals, but not this sort of style. Again, I like that sound, but it's not "normal".
  23. Parallel uneven octaves at the end of every measure besides m. 1. Actual parallel octaves in m. 4. Mode mixture? Sounds pretty cool actually, but definitely not "correct" in strict counterpoint. Depending on what style you're writing, parallel fourths in two voices (m. 2) isn't good. m. 4 parallel 7ths TB beat 2
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