January 28, 201115 yr I couldn't see your score because I don't have Finale. Try to convert it to PDF by exporting or printing using a virtual printer. The Midi sounds make me difficult to review by listening only... The Harmonies in the middle part sounds like out of place, the rest is ok but some transitions there (I can't tell you exactly where) sound like unexpected voicing collisions. Can you tell us more about this, the structure is very unclear and the end seems unfinished...
March 1, 201115 yr Author thanks i appreciate the advice. i've uploaded a score and a better sounding mp3 file. i realize i analyzed some of my chords wrong.
March 2, 201115 yr Im assuming by all of the notations of chordal structure that this is for a theory class? or project? You have some cool ideas going on in here, however some of the transitions need a little bit of work. Just as an example, the bars in the 20's (dont remember exact numbers) kind of randomley die out and join back up again in a completely new tempo, with no lead up or transition. Also, the ending where everything is nice and steady smooth strings and out of nowhere its pizzicado. The end is kind of funky (dosent seem like it comes to closure) but if thats what you want thats fine. On a side note, why no viola?
March 25, 201114 yr Author thanks. ya it is for a theory class. i can see that the transitions need work and the ending is suppose to be a Picardy 3rd but it sounds kinda weird. i dont really have an answer for no viola other than i just it was easier not to think about writing in alto clef haha. but i recently wrote another piece named #3 with violin I, II, viola, cello. that was a cool piece you entered for the february comp by the way
March 28, 201114 yr Be not afraid of the alto clef! You will probably need to know how to write in it at some point anyway. I like the ideas you have going on and I largely agree with what is written above me. During the first half I don't get a great sense of chordal change, which I think might be partly from the chord progression (I, ii6/5, iii6) which is a regression essentially. Maybe you could try sticking to stronger progressions like moving down by thirds/fifths... but again, it's all in your creative license. Some composers (including myself sometimes) focused more exclusively on timbre than on chord progressions; Bartok and Stravinsky being good examples. I personally think timbre speaks much louder than chord progressions if done correctly... but I think you at least need a few more dominant/tonic movement in there at some points. I do understand the random pizz at the end, but something like that is much more effective after maybe a forte section followed by a rest, not to mention that quick transition is difficult for the performers. Otherwise it sounds pretty neat. Hope this was helpful!
