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Everything posted by Monarcheon

  1. The opening is very hard to discern what's going on rhythmically; it also differs so much from the rest of the piece, that making some sort of reference to it in the later sections always does help.
  2. Recording is just incredibly quiet. Fine use of chromaticism, but it's all in very short bursts.
  3. Might take a bit to get properly published and everything. We'll see; it's not that impressive haha. That was half of my intent, but I do understand how that could be a little bit flat. My main idea was trying to signal each movement with a change in tonality, as opposed to just volume/rhythm, but I definitely see what you mean. Thank you!
  4. I'll check this out a little more later, but you should probably go over your figured bass again. m. 10 has a 9-8 suspension for example, and 12 has a 4-3. My other question to you is what are you trying to say with all of this? You've identified form and chords, sure, but why? To get a better understanding of the piece? How so? Just things to think about.
  5. That's fine, but again, no need to stress about it. Sentence structure may involve repeated segments, but other development forms definitely don't. Like I told KJ, I'm far more interested to see what you can do with material; that is virtually infinite.
  6. Maybe that should have been more clear. I meant the literal exact repetition (orchestration, rhythm, etc.) should always be at the front of the movements, but thematic development (i.e. sentence form) are okay for the movement's development. However, this is not the only way to develop a theme, so you should still be just fine. 🙂 This is a weird competition, so we'll be a little lax as long as we can tell development was thought about.
  7. @isuckatcomposing @Noah Brode @Gustav Johnson @Luis Hernández @Tónskáld @bkho @KJthesleepdeprived @J.Santos @HoYin Cheung @luderart The submissions link for your compositions has opened. Luis and I will moderate the post, but will not observe entrant submissions until the deadline, Nov. 15. @isuckatcomposing, I will add your entry to the list in 24 hours unless you do it first, as you kindly let me know ahead of time.
  8. Please post your entry to the competition in the appropriate forum, then place a link to that post in this thread. For general forum members, please comment on entrant's submissions in their respective posts, not this thread.
  9. It gets a little same-y... chromaticism near the end was nice and appreciated, but it mostly falls into an embedded phrase model , which I think more could have been done with, like extending the periodicity more irregularly, as opposed to the embellishing phrases you have now.
  10. If you ever have extra time, take a look at Palestrina's music: 18th century counterpoint is comparatively way more lenient. Buxtehude ricercares are also great imitative pieces.
  11. Violin and cello seem underutilized in this movement. Obviously don't go overboard with it, but it seemed like a very separated trio.
  12. It's nice. I would reevaluate sometimes your voice arrangement for the left hand. Any non-chord tones close to the actual lowest point will often sound a little bland.
  13. Something that detracted from your potential goal of otherworldliness is the consistent use of this heptatonic diatonic collection. More whole tone, octatonic, or even bebop scale derivatives could easily break that monotony. Also, it was fine until I heard the Dies Irae. Maybe it's just me, but it struck me as really comical and not really that dark.
  14. What's the difference between the dotted 8th + 16th and the swung eighth notes? You say to take liberty, but more liberty is given if you just leave it swung. The rhythm in the beginning in the reduction doesn't match the singer. In your score: "quietude breathiness": that's two nouns together, which doesn't scan. In general (and I don't know how the original is), the homophony holds back the work rhythmically. I'm missing some internal syncopations that might otherwise preserve a sense of motion, especially if it's from barbershop style. For occasional apex effect, it's great and you do use it that way sometimes, but in places like mm. 42-46 it really slows down (and not in the tempo way, as you want it). It's also not that hard... individually, at least.
  15. Yeah, the skip in feel was also strange for me too. The ending is a little abrupt as well, with kind of an unceremonious triplet figure used to predicate it.
  16. Main thing to keep in mind is that your inner voices (yes, they still exist even if they're not a literal continuing voice) don't resolve properly in a Bach style. This mainly applies to your leading tone, like m. 19. Those down bows at the end are a little strange too. Do you want down up up? It's just awkward to play that that fast, as you can hear by the performer's struggles in that section.
  17. I recently finished the musical I've been working on and starting writing this as a potential prologue to another one. I got about this far, but am unsure where to really go with it from here.
  18. The former. Normally stuff like that doesn't bother me, but I think it might be the fact everyone's singing melismatically there.
  19. To my ears, beat 4 of m. 44 has a G minor chord (ii in F), m. 45 is C (V in F), and m. 46 is F's arrival.
  20. I don't think I have any particular preference about the naming convention. Seems like a somewhat unnecessary criteria to judge in this particular case so go wild, I guess. My only concern would be to make sure the movements are not their own individual pieces, since the last movement's amalgamation status requires a bit of formal cohesion.
  21. The suite's finally up! A lot of movements have been posted here already, but it is a different experience all the way through (if I do say so myself 🙂). Movements 3 and 5 have not been uploaded here before if you want to skip to those, though. Enjoy!
  22. The oscillation between the mixolydian mode was a nice touch. My main two things were the spacing in mm. 16-17, and the use of consecutive dissonances in motion (i.e. 4ths to 4ths, 5ths to 4ths, 7ths to 4ths), which wouldn't be an issue in most cases, but when the melody line holds and the other voices take over sometimes it feels a little empty. Nice little work, though.
  23. Sorry, perhaps it should have been clear that those were but examples of analytical styles. If a contestant gave me a piece in a chorale style, there's no reason I would want to use, say, Friedmann's contour analysis styles– I'd want to stick with Rameau's theories. If someone submitted a piece in pointalist counterpoint, maybe Forte would be helpful, but also maybe Hyde and her secondary dimensions. I feel as though judging compositions shouldn't just be about what I like, because I feel as though that's less fair than if I were to have specific referential points. And this is more what I mean when I use "analysis": it's to be able to hear specific things I find troubling or dramatic or tight, or subversive and say why those things are attractive. For me personally (as a judge of quality, which is my job in this instance), "it's cool" is not a sufficient response.
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