Unusualities

Hello,

Due to the recent revival of the site, I wanted to upload something but I didn't want to reupload my old stuff so without any planning I opened sibelius and started loading the weirdest ensemble I have used, which by the way didn't like much, mostly due to the fact that I never write for chamber ensembles but orchestral ones, it was an interesting experience.

As for the musical language I'm in a sort of transitional stage, I'm introducing some new material but still undeveloped, anyway it was a good test before starting a heavy orchestral project I'm currently planning. 

Hi Daniel. Interesting.

I feel like you have developed over the time I haven't been listening to you work. Yet at the same time there are qualities in your work that show continuity. There is constant sense of suspense. Added with blocks of chords, embellished with trills and stuff. Halve way I thought, is he going to write all tutti all the time, but then you didn't. Good.
The harmonic language has a sense of continuous suspense. Augmented triads and no resolutions. Yet, the harmonies do sound less static than what I remember from earlier work by you. For my taste I would love to have some more ground, direction, center, but thats taste :D

btw, quickly screening through the score I think the final chord misses some F sharps (right hand of both the hammond and the piano) right???

Hi Jaap, Thank you for coming here and commenting, it will always be worthy for me.

I am trying to take my harmony into a higher level of complexity but trying to maintain the esthetics I don't plan to abandon, but it hasn't been easy, I have found a good complexity in jazz which sounds very nice but for these kind of music I try not to use them, so now it had become like two different simultaneous harmonies, and the main difference is that the jazz one is made with 1 chord at a time, is a large chord but only 1, and in this work for the first time I'm trying to handle 2 chords at once, which one usually is an augmented one like you noticed, and the other tends to be 4ths, like C+E+G# & A#+D#+G# and I plan to add a 3rd layered chord, that could be maj7ommit5 on top of all that, so it would complete the color, all this isn't ready, nor the rhythmical texture, in this work is quite easy how they interact, I'll make it more interesting with time.

Last chord does have an F natural, just the D was repeated in both hands, I deleted it, is like F#maj7(#5) just I didn't write 7th as E#.

Ok, then curtesy naturals are in place, because a conductor or performer could be confused.

I think we tag along so nicely because we both have and have been in the process of developing an harmonic language and expand on personal preferences. Keep on :)