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Everything posted by Monarcheon

  1. That's definitely part of it. I also get the sense you're hearing an accompaniment part that doesn't exist and expecting the audience will hear one too in some way. Lots of rhythmic pauses and scalar motion that serve only to prolong, which isn't bad, but would kill for some embedded phrase models.
  2. It likely needs accompaniment, but I feel like you think it has to be this quarter note thing because people won't hear the imitation. Good orchestration will fix this problem and will not obscure the effect. That being said, I didn't hate the quarter notes; in fact, I thought they were rather quaint. However, the abrupt stopping of any melodic motion past this actually detracts from the feeling of it being counterpoint, which is the exact opposite of the point. As it stands, anyway, you have an F major 7 chord in the third bar which is definitely a noticeable dissonance in a classical style that is not resolved "properly".
  3. Agree with @jawoodruff on the key signature. Just make it unkeyed. Perhaps the trombone glissandi are used too much. I understand it's attempting to develop an unsettling motive but it doesn't come across that way without analysis. Also, people would likely laugh or be confused at the ending. It's so out of nowhere that the "schema shift", as David Huron would put it, would result in a jarring feeling going the opposite direction.
  4. I'd suggest reading Nattiez's "Music and Discourse" sometime if you get the chance. I don't think you have the right idea when it comes to music theory and its separation from music composition. Music is entirely objective, yes, in terms of what's presented to you, but everything is context dependent, and there's way more to it than just claiming G major chord going to F# minor in a vacuum is a bad choice.
  5. @Quinn Here's an example: look for places where the score says that the old beat pulse changes into a new beat pulse (i.e. 0:16). Carter is known for it, and I agree that "metric modulation" is an awful name for it, but it's what we're stuck with (coincidentally this piece beams over rests too!).
  6. Hm. I've most often seen this in time signatures like 7/4 to 10/4 where lots of subdivisions within the larger bar exist. Since 7/8 is such a "close" time signature in terms of total representation, it has a couple different implications. Similarly, the phenomenon of "metric modulation" has caused problems in recent years. Do we do it with Carter's common-rhythmic system, Cowell/Seeger's irrational time signature system, or a strictly factual one with every new change? Just like this question about rest beaming, the answer becomes preferential, which is in itself a bit of a problem.
  7. Imagine a 7/8 split into 2+3+2, with eighth note occurrences on timpeoints 2, 4, and 7. This would leave eighth note rests in a way that could not be condensed into a quarter note. The beaming would assist in the identification of 2+3+2 and simultaneously explain the player's role in the syncopation. I'm not saying it's the best solution, but it certainly is one.
  8. Maybe I'm just an idiot, but I've never heard of one in A. This website even calls it "obsolete". Don't use it, I guess. http://utminers.utep.edu/charlesl/transpose.html
  9. It's a thing in a lot more modern music where subdivisions and syncopations change frequently and a floating rest can be very ambiguous, especially in multiple layers on a single stave. Or at least it's most helpful there. In standard meter it doesn't seem very helpful, but that's just me. Personally, I'd use it sparingly, but it's situational.
  10. One of the greatest examples of this kind of thing was done by Schoenberg; you may not like the sound, but it's one of the quartets theorists and composers keep coming back to: https://www.youtube.com/watch?v=L85XTLr5eBE Another personal recommendation for the blend of styles is Prokofiev 1. Lots of moving parts at all times. The middle section of the 1st movement is terrific. https://www.youtube.com/watch?v=3TRIQP7WNkc
  11. This falls into the Andalusian cadence trap of trying to think of something new for every repetition of the hypermeter and it becomes a little boring after a while. Some parts I feel like you're struggling to find something for all the instruments to do. I don't think this is necessary.
  12. Maybe I'm just impatient... the 4 chord loop for 4 hypermetric units became boring to me. Adding the moving line over it was fine, but with the first chord it throws me off a lot. C(x3quint) with Gphry is a strange combination, that does smooth out a bit but is jarring in a not-subtle way.
  13. Transition to B-flat minor sounded really random; came out of nowhere and left very quickly.
  14. III to v (or I - iii in E-flat) sounds really awkward because of the ambiguity in tonality in that area.
  15. I don't much like the original anyway, but this probably needs some more rhythmic influence, since it's integral to the original. This arrangement just sounds like it's constantly on the subdominant when the original also moves around.
  16. Vocals need to be fixed, as always. I get a disconnect between lyrics and instrumental, as though music was an afterthought.
  17. Parallel dissonances between bass and melody near the end of each theme. Cellos can't play low B.
  18. Rather nice, with the addition of features upon repetition. The process is just kind of repetitive once you know what's happening.
  19. Not sure the meme is necessarily worth it. Phrygian doesn't mean ancient. Anyway, the jumpy counterpoint in the beginning could be tightened by making use of the mode's semitones as smoother transitions in voice leading. The ending percussion section I feel falls flat.
  20. If it "free" or is it Q=60? I feel like for a quarter note delay you'd want to be specific.
  21. Lots of homophony; too much for me. Distinct voices would be nice. Also, all your key changes are unnecessary. Just make it an un-keyed score.
  22. The harmonic rhythm in A" was a little bit slow for me, especially with the alto-range tonic syncopation.
  23. 1. Enharmonic spellings need to be checked. 2. I'd suggest reexamining your use of accented non-chord tones. They can get a little too present.
  24. Appoggiatura on the 4th of C major in the opening really rubbed me the wrong way for some reason. It resolves right away so I couldn't exactly tell you why. I like the changing accent placement within phrases.
  25. This whole duple-tuplet business you have going on is really confusing. Do a ratio tuplet and be specific.
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