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Monarcheon

Prelude Espirituelle

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Prelude Espirituelle was meant to be like a showy piece that someone would play for like a finale or encore or something.
The only catch was I was supposed to write it in less than a day. So, while this piece may not be very practical (haha whoops), I think it can mostly be judged on musical ideas more than anything else. The person who told me to write this for her thought it was kind of impractical to learn quickly. Everything sounds kind of "pop-y" which is kind of good and kind of bad all at once. Thanks!
(Copyrighted under the Opus 2 series)

 

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nice. I would build up a little bit before the triplets in bar 11. something seems missing before bar 51, I think it is great to have that atonal part but it would be better if there is a little transition. 

Maybe better if you play it as the software makes the accompaniment too loud

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18 minutes ago, Cyborg W said:

nice. I would build up a little bit before the triplets in bar 11. something seems missing before bar 51, I think it is great to have that atonal part but it would be better if there is a little transition. 

 

I'd say the reason for coming down before measure 11 is the use of the deceptive cadence, which is countertonal from the C# in the bass.

I personally love the jarring atonal part just kind of slammed in the middle there haha. I can totally see why you're saying that, but it was just a choice to lull the listener into a very typical " i VI III V" chord progression only for it to come out of it like that. 

Thanks!

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This is really great. The atonal section does come as quite a shock to the senses when it first appears, but that's not necessarily a bad thing by any means. The section after that is by far the best part of the piece. Having the music breakthrough into that grand ending is the perfect way to follow an intense and unexpected section of atonality.

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1 hour ago, fishyfry said:

This is really great. The atonal section does come as quite a shock to the senses when it first appears, but that's not necessarily a bad thing by any means. The section after that is by far the best part of the piece. Having the music breakthrough into that grand ending is the perfect way to follow an intense and unexpected section of atonality.

 

I'm glad you felt that way, that's what I was going for!

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