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Everything posted by Monarcheon

  1. It works since it gives you a nice harmonic framework to go nuts with (hopefully somewhere slightly neotonal, since it's so structured). I'm just not sure you need the theme split into two sections like that. It's a little bit confusing, formally speaking, unless one is meant to be an intro to the theme.
  2. I'm not sure what's with all your switching between 4/4 and 12/8 in the mid section there; it seems like the beat stays the same either way, and there aren't any major repetitions of borrowed division.
  3. It's interesting with the use of constant harmony, but I do get a little bit tired of parallel 4th's after a while...
  4. Couple spots with some uncharacteristic dissonance, like the minor ninth between D and Eb at :45. The B and C a few seconds later sound better to me since it's prepared better as a to-be-retarded tone.
  5. The main thing I hear is that some of your more intense violin passages are kind of understated by the tempo. More specific marking might be necessary in the part for better representation of its role within the texture. The adagio at 90 is another example, but a little different since the violin is realistically only holding two out of the four of those notes.
  6. Layering effect is nice and progresses well over time (though a more stable bassline might have helped). I'm curious about your little G to E major little chordal skip figure. What are you functionally trying to achieve with that?
  7. A early trick composers are taught is to, before the introduction of another section, have an aspect of it in some other "unimportant" voice, that moves through the transitional cadence to make the next section's material sound related and more sequential.
  8. Good comments from Serge. I just wanted to point out the tone shift from the return of the A section to the end is huge. It seems a little out of nowhere.
  9. The harmonies work, but mostly because they're pretty standard. Not a bad thing, of course. The finger-plucking section... the pattern you do it in is a tad too simple and repetitive. Disregarding chords, it feels sort of comical and a little bit more syncopation or displacement could give it some more character.
  10. It's nice. I was put on perhaps too much of a tempo ride with the ritardandos in the fast section... I kind of wanted for it to just keep going, you know?
  11. Most of it's good. Treatment of non harmonic tones is sometimes a little strange, like with neighbor motion to and from the minor ninth (especially when the interval is not based on the tonic).
  12. Very... eclectic, but some harmonies and timing procedures still stood out to me as unnecessarily harsh. I think this mostly comes from a functionally unstable bass for a lot of the piece, be it due to inversion or weaker progression chords like iii.
  13. Transitions are a little harsh. Particularly the one going back to the A section at 1:51. Ending on what's basically a subdominant chord in a harsh inversion attempting to function as a VII in your original tonic of G minor was pretty jarring, especially since there was no transitional inner voice work.
  14. OP defined parallel harmony as parallel related tonalities, or at least that's what I infer they meant by their post. You are defining it differently, as a method of harmonic planing, and there are two variants: diatonic and chromatic, which, yes, would correspond to the Finale transposition options available. The idea behind planing, is that voice leading remains in constant structured harmony, oven supporting a melody line either explicitly or secondarily.
  15. If we're defining parallel harmony that way, look up the term "planing", specifically "chromatic planing".
  16. What? You have to realize that major and minor modes don't really mean anything and that your reaction to them is learned. In the transition between the Medieval and the Baroque, Willaert and Zarlino codified the minor thirds as sweetness and grief and major modes with harshness and bitterness (Burkholder, 249). Obviously completely contrary to what most people think today, but all it takes is a few hundred years to change what the world thinks.
  17. Couple ways to interpret this: E major with added 4th (11th in jazz), or an Esus with the third as well (less common) A major 9 chord in second inversion with no third.
  18. I don't much like to sound super artsy or whatever, but I literally had a dream with this melody in it, and I don't know if it sounds familiar to me or not. It uses a similar diatonic structure to Rent, but I think it's decently different enough, but if anyone knows of something that uses something similar to it, I'll abandon the melody lol
  19. Wrote a first movement of a Webern-Babbit kind of hybrid piece. Not sure if I like the process enough to keep going?
  20. It's about following the scansion. "the LORD is my LIGHT". Putting "the" on the downbeat makes it sound like the stressed syllable, which it isn't. You said later that you don't necessarily want to follow the rules, and that's fine. I agree with you it sounds good, but it's not "correct". In strict counterpoint, you're supposed to avoid it in a melodic line altogether. That's not correct, or at least that's not how I learned it. It's disputed the cases where a direct octaves are okay. Yours is one of those exceptions that some consider fine: where both the outer voices move upwards, but the bass leaps and the soprano moves by step to the same pitch class. Some wouldn't say that's okay. It depends. Direct octave leaps in similar motion are absolutely not okay, but you don't use those 🙂 My bad, I meant unequal fifths. EDIT: I'll stress here that I only made those observations because I didn't know what kind of feedback you were looking for. I see "chorale" and I'm like "oh, maybe they mean counterpoint?" It's 100% okay (and even good) you don't use those rules, I just didn't know what you were going for. That thing about the scansion though is a little strange though.
  21. Are you trying to follow the rules? 1. "The Lord is my light" is strange because "The" is not a stressed syllable. 2. m. 3's leap of an augmented second does not resolve properly downwards by step. 3. After the fermata of m. 3, the outer voices form a direct octave by upwards motion. The bass does not outline the tonic triad. 3a. The same happens between mm. 3-4 and m. 5. 4. Same problems mentioned before in m. 6. 5. m. 7 has an upwards motion of contrary fifths. Only downward is acceptable. 6. Same problems mentioned before happen in m. 11 and 14.
  22. Thank you for asking. The following information has been added: "A separate topic for submissions will be available at the end of the entrant application period."
  23. Sorry, my writing was slightly confusing. It wasn't double negative syntactical error as much as it was two clauses that contradicted. The first "not" agrees with you. The second "not" agrees with the first statement syntactically (double clausal intent) but expands upon its point. Again, my bad.
  24. I'm not at a computer so I can't look at this in depth, but in the first few measures you have a few instances of direct octaves, and since you're still in two voices they do matter. M. 9 has parallel 8's as well. Consecutive open intervals is also considered bad in two voices so watch out for those too. My main disagreement regarding it being a Bach-like subject is the leap in beat four. It happens on a weird place, not to mention the fact that you never harmonize the seventh leap with an applied dominant which is a very Bach thing to do since vi to ii is a little strange on its own.
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