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Everything posted by Monarcheon

  1. 1. Gershwin's Piano Concerto, 1st movement, starting 7:30. The beautiful E major section comes out of nowhere, and when it climaxes with a major 7th suspension on the ii chord nothing else matters. 2. Shostakovich Symphony 15, end, 42:52: I love this whole piece, but the end is so completely different, yet totally not at all (in reference to the first movement), that it's ironically one of the most conclusive pieces, even including his 5th and 7th symphonies. 3. Kapustin Piano Concerto No. 2, mvt. 3, 2:03, everyone should hear this whole piece, but I guess I just love contrast that isn't really a contrast at all, because in the middle of all of this toccata-esque piano play, there's this great little section of swing, while the piano sticks with themes from the whole piece in the same style. It's short, but a fantastic little moment.
  2. For more modern tastes, I would suggest the Barber Violin Concerto and Ligeti Violin Concerto. Tchaikovsky's is pretty mandatory listening.
  3. This isn't meant to be condescending in any way, but I'm curious as to what your theoretical/dramatic rationale was to write it in the way you did.
  4. It's fine, but it seems like you've kind of truncated some sort of form? You have like .75 of a period and it's a little strange hearing (1 phrase + .5 of a phrase).
  5. Lot of good advice from Some Guy, especially about high notes and volume. In terms of dissonance treatment, there are a few odd standouts: m. 10, B in soprano and a C that resolves to B in tenor. To match the resolution pattern of the previous measure, and most classical music, the dissonance occurs on stronger beats. Same kind of comment regarding m. 36 and the contrary motion away from a weak-beat dissonance. To me, the miserere just seems kind of choppy. Maybe you could use more imitation instead of just having individual moments.
  6. Treatment of harmony is actually pretty interesting, especially with your inversions. Some pretty cool changes. There are a couple spots that I would look into, like in the last measure of the second page, the tenor and bass do a really awkward voice exchange, two measures before the 3/4, the prosody on "against" is somewhat strange (you say a-GAINST, not A-gainst), and resolutions that contradict harmony by way of retardation/suspension in another voice. Is this supposed to be like a chorale? I feel like there's a lot of inner voice movement that you can play around with some of these chords and it seems somewhat flat at the moment. I know it's a pain, but you're going to want to write what each line of the choir is singing instead of just implying it in one line, especially since you do deviate from standard chorale setting.
  7. At the beginning, I can see how you're hearing a sort of Bb6 tonality with the G's as opposed to a ii6/5 chord, but to me, when it gets to m. 9 it's pretty clear what's going on.
  8. @DrPengin If you're going to be posting all of your daily works, I'd suggest making a separate thread to post all of them sequentially to avoid flooding the review forums.
  9. The term is probably really effective when it comes to composition, but when it comes to analysis, you'll notice it's just a few sets of scalar tetrachords that whose [0] prime value go up by fifth i.e. C D E F# - G A B C#. The sound of the scale in and of itself is cool, and great in improvisation, perhaps, but analytically it falls short of any practical value, in my opinion.
  10. Nice, though I like the prelude more, I think. You have a set of parallel fifths in m. 59, by the way. I don't know if you care.
  11. You're making a lot of assumptions about meaning both semantically and audibly which are never expanded upon. I mainly am arguing against your section as to what you think a good melody is, and what it means to "reinforce" lyrics. Your entire last section deals with variance = goodness, essentially, but a lot of early medieval/renaissance music use static pitch, especially in plainchant. Opera also commonly uses recitative on a single pitch, yes, often to exposit, but the composer is in charge of that decision; is the foundation of what made these trends a thing in the first place also bad? The example you give for a "bad melody" in Love You Like a Love Song actually does most of the things you think a good melody does. Let's see how: 1. In the first portion of the first verse, the range spans an octave, with the tessitura at a comfortable minor seventh. 2. The first portion of the same verse utilizes a very brief sequence with its repeated notes. In measure four, the repeated Bb is the minor seventh over the iv chord. Two measures later, the A is a major seventh over the III chord. The melody, in effect, is a simple walkdown utilizing the same approach figure. Measure 8 almost repeats the figure with G, but cuts itself short to change it at the last minute. This is a truncated sequence (ABAB'), in a classical sentence structure with the second half of the verse. Thus, familiar, yet unexpected. That's what the Gallant era did best. 3. You could easily argue that the tonic is very clearly defined throughout the melody of the verse. G is the tonic of the song, and you'll notice it returns to it frequently throughout the verse to ground it within the extended harmony the repeated notes use. In the chorus, it's ironically the minor third that becomes the static pitch, but if that's not a center, I don't know what is. 4. Definitely repeats. Read what I mean about sequence in section 2. 5. Read section 2. 6. The repeated notes in m. 4 form a minor 7th against the bass, which immediately resolve to a typical triadic structure in m. 5, where the singer forms a major third against the bass. It's not an atypical way of dealing with dissonance (resolution by escape tone), and does its job well. The A's in m. 6 form an even spicier major 7th against the bass and resolve to the same triadic structure in the next measure. The chord progression with extensions (from m. 3) are Gm - Cm7 - F - Bb∆7 - Eb. Notice that where an extension is used, it is immediately resolved in the next chord. Edit: In the chorus, the repeated use of the one phrase over and over also creates and resolves tension by having the minor third and perfect fourth vary in relevance to the tonic of that chord. 7. See section 2.
  12. With the voices: maybe I missed some, but the issue there was that there were too many close intervals in a row. Even with the octave displacement, it ends up sounding very unplanned. With the cadences: since you're already in free counterpoint by the end, you might look into using more fourth species. Most of it has been confined to the first three. It's not a great one, but see the attached for an example.
  13. Can't fill out the poll since I don't think it fits the jazz style at all. The issue is here is that the audience doesn't have a good rhythmic framework to interpret this as anything but a piano piece. Heavy metal you'd want a half time drumbeat and jazz, there should be more extended harmony, which isn't played into at all here.
  14. Most of your problems arise from it being two voices. Some would otherwise be okay, like the direct, but a lot of these strange parallels hurt the composition.
  15. Agreed with the above. The counterpoint section helps, but it's far to short and this feels like the same four measures on repeat aside from it.
  16. These all sound pretty same-y. Undead and rendevous sound particularly similar. The chord progression doesn't really matter as much as the timbres you use which, while technically consistent, sound unoriginal to yourself in separated contexts.
  17. First of all, don't be so preoccupied with writing with the intent of making anyone feel anything specific. You're going to lose that battle against your audience. Secondly, I'm going to focus in on the second movement. I feel like sometimes you're going for something complex when it doesn't have to be. Your deceptive cadences are lovely, especially in the coda, but your brief modulations and borrowed chords sometimes are ineffective at maintaining tone (happy or "reminiscent" as it may be). The most egregious one was hearing Ab->E using the flattened dominant as a secondary common tone. The voice leading also leaves something to be desired. I only mention this because it was supposed to be similar to the Pathetique sonata, but the contrast between open intervals in the bass and a very squirrel-y melody line sometimes exacerbated some of the more noticeable harmonic changes. It's a nice movement with a clear plan, but some of its moment-to-moment progressions took me out of it sometimes.
  18. Generally nice work. Sometimes in your VI chord, you do a pseudo resolution to a bII6/4 chord (Bb) which combined with the dominant 7th over the F chord can feel a little out of place when you're setting up both a secondary dominant and tritone sub going forwards and backwards.
  19. Production value stuff I won't really comment on, since all things considered you're probably a better sound designer than I am. @mark styles has provided good information to you regarding some engineering stuff. There are some parts that overlay in diatonically polytonal language that confuse me sometimes. Around the 2:30 mark, you retain your i - iv vamp but your melody goes to a iv - v vamp, which creates a im11 and a iv13(#11) sound which can be distracting. I know the point is to retain to lines at once, but sometimes it doesn't work for me. Horns playing high C at the beginning is a difficult thing for them to do, the highest of most player's tessituras. Careful writing concert F's. The sections are quite nicely flowed through, though when it comes back down to the chants, it never seems to leave that portion of the dramatic arc, leaving the ending feeling rushed.
  20. Fine in terms of intended harmony, but I get the sense of it being too sectioned off into 4 measure bits.
  21. Colorful chord changes and good voice leading. I would avoid using the tertian secondary leap too much, since it becomes a pattern after a while, taking away from the wonder I think is trying to be emulated.
  22. Focusing in on the section around the one minute mark, the counterpoint between the upper and lower voices was a little strained when there are leaps to and away power chords in the upper register (perfect fourths) in an unrelated key.
  23. Pretty nicely done. Stuff at the end was good with the harmony, but could have used a bit more variation in the second round of the A and B sections. On a purely design level, the soundfont for the violin seems a little too... clean, perhaps, for the style of music? I don't know, to me it didn't have the same impact or oomph it could have with a heavier sound.
  24. I'm a little confused. Are the visuals part of the piece, or are you background scoring? Either way, some pretty cool timbres you used; the end was so different and cool I wanted to hear more of it!
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