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Everything posted by Monarcheon

  1. 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".
  2. 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
  3. While I have you on the horn, are your up bow and down bow markings accidentally reversed, or do you intend Mvt. III for example, to be played all up bow (a weaker, more strained sound)? I want to get my commentary right.
  4. It seems some people are struggling with this time frame. Would it be useful to push it another week? Entrants who submitted pieces already will obviously have the chance to edit their works if necessary. @bkho
  5. That sounds like an intro class thing. For things with a tetrametric hypermeter (4 stresses per double period), that's generally a good rule to follow, but like you say it's not mandatory. Your professor is likely just making sure you have a general idea of how to text set rhythmically, which is perfectly reasonable, imo, before you get more in depth.
  6. Please also take the time to leave some reviews and feedback of your own other's works. Helps the system go 'round 🙂
  7. Please also take the time to leave some reviews and feedback of your own other's works. Helps the system go 'round 🙂
  8. Lovely little work. I rather admire your what sounds like intentional clashes of leading tone voicing leading over or under alternatively applied harmony.
  9. 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.
  10. Recording is just incredibly quiet. Fine use of chromaticism, but it's all in very short bursts.
  11. 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!
  12. 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.
  13. 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.
  14. 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.
  15. @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.
  16. 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.
  17. 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.
  18. 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.
  19. Violin and cello seem underutilized in this movement. Obviously don't go overboard with it, but it seemed like a very separated trio.
  20. 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.
  21. 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.
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