Compositional Tendencies/ Musical Signature

*steals Flint's music but changes a few notes*

This topic is what I have been thinking about. Quite interesting to read what everyone does. I come from a simple early-romantic style. The critique I always got was that it was to dull, harmonicly.

Then I got influenced by 20th c. french organ-music (Dupre, Durufle, Alain, etc) and impressionalist. new harmonies, added seconds, sexts and septimes. But still tonal

The most recent development is an experiment write music in a modal scale (modus 3) (see my latets stringquartet post, if I may)

But it is diffucult to think non-tonal. I think i will settle for some neo-tonality (I would love to grow into a style like mid-shostakovich)

In my ensemble writing:

3 against 4,

minor keys,

jazz,

Ugly trombone and trumpet against "sweet virgin in need clarinett" with the piano on both sides.

In my ensemble writing:

...

minor keys,

jazz,

...

You've given yourself a pretty big net here...

...How is "jazz" a musical signature? (Ignoring the fact that jazz is awful)

You've given yourself a pretty big net here...

...How is "jazz" a musical signature? (Ignoring the fact that jazz is awful)

The only people who write jazz music are those who can't quite cut it anywhere else. They get to learn all these rules and theories and apply them mechanically.

Ah screw it, it was a terrible attempt at trolling.

You can tell it's mine cause it's usually terrible.

Yeah I don't take pride in what I do.

No I'm being serious

That's a terrible attitude...

I love repeating the same melody over and over again, but to different harmonies. This is especially the way I like to begin my recapitulations, taking the first theme into completely unexpected keys in such a way as to make the listener wonder if the development is even over. This is particularly effective if you modulate into the recpitulation gradually, not with a powerful closed cadence, but perhaps with a plagal cadence or a pedal modulation on the tonic (Beethoven 4th symphony 1st movement).

Interesting and very programmic signature... Beethoven would be proud. :)

How programmatic?

It just seems to me like if you were to use it over and over again, that the cross-musical-piece motif would evolve into evoking a very strong feeling and nostalgia from each experience hearing the piece... Because the audience would relate that (because it's such a strong thing.. like for instance ME using added four chords to end my pieces. If I had more than one, people would begin relating those endings together and try to compare them), and it would evoke a feeling of looking outside of the piece to try and decide WHERE HAVE I HEARD THAT BEFORE; to me that becomes programmic. lolz. Just my opinion.

I'm also fond of the loud introductory chord gesture exploited so well by Haydn in his late string quartets.

I always write waltzes

You can tell it's mine cause it's usually terrible.

Yeah I don't take pride in what I do.

No I'm being serious

You're in Florida... no wonder it's terrible!

Of course I'm just kidding... :)

Awesome music is my signature, what else?

Awesome music is my signature, what else?

:w00t:

Nice.

I almost always will go (I believe this these are the correct symbols)

i - VII

or

I - VII

Somewhere. It's a terrible habit, but it mostly comes up in improvising. Huge sweeping romantic gestures for five minutes all over D major... then... C MAJOR CHORD.

It's all good fun though.

What wrong with doing a D Major chord then a C Major chord? There's nothing wrong with that at all! haha. I do it in my comps all the time.

I think he means a big old unexpected VII chord in the middle of a major piece. I actually am a big fan of VII in both major and minor, as an alternate dominant.

I think he means a big old unexpected VII chord in the middle of a major piece. I actually am a big fan of VII in both major and minor, as an alternate dominant.

But... isn't VII in D Major C#-Major?

Wouldn't it be something like... V/iii? I know it has to be a composite notation... Unless we are breaking the rules.

Ah sorry guys, my chord writing isn't the greatest. I've never taken much theory, it's mostly figuring stuff out for me.

What I meant to say was:

eg. D major chord... then BAM C major.

or D minor then C major.

If I was to describe it it's basically like there is resolution and a sense of finality to the initial chord, but then the unexpected (or expected in my case haha) drop down a whole step is really pleasing and creates an even greater sense of leading towards something.

That's my made-up theory for the day.:laugh:

HAHA! I love it! Made up Music theory is one of my favorite things to do when I write.

But, yeah, i know what you mean. In the natural minor mode (aeolian), the vii is very common. ;)