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johnbucket

Sinfonia

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This is an old piece (it'd be about six years by now) that I've recently revised. It's probably the only 'good' piece of music I ever wrote in those years, if short. Little has changed in essence: the pitches remain untouched, and there are very minor adjustments to rhythm and articulation (I was weary of changing these two too much because they are 'structural'). What's been overhauled are the dynamics, which make musical sense and aid in articulating the form now, the presentation and the title. I'm not sure what to call it, to be honest, but a Sinfonia (in the sense of Inventions and Sinfonias) is what it resembles most closely. Not much to say that's not already obvious from the music.

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I think the piece comes off as effortless.  You have some idiosyncrasies unique to you that can be unexpected, fun and even jarring when you compose in a "traditional" tonal space. But when you compose music in an atonal space all the elements feel balanced and natural. I don't know how to explain it but there's a certain grace to this piece that I've never heard in your other music. 

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Awesome! My main critique isn't even musical, it's just engraving-based. Aside from some obvious issues (eight notes (quavers) and quarter notes (crochet) oftentimes cross each other a little too much on different layers), sometimes this looks like a three staff piece to me, other times I think some choices to make the rests seem congruent to one layer might be necessary. Some fixes, such as having your 3 sixteenth note figure turn into 2 sixteenths and an eighth, might work for example, though I don't know if you want to change that.
Musically, it sounds almost like a more fluid Boulez, and other than maybe cautioning about enharmonics every so often, I think it sounds good. 

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Thank you both for your kind and encouraging comments.

@Sonataform: I wouldn't say this is 'atonal' as such, since it has elements of tonality. Just post-tonal.

@Monarcheon: Thanks for using British lingo, but I can read American just fine! Personally, I don't like using three staves, because it makes it harder for the pianist to read, but I'll give it a think. It's a bit of a clutter, but I feel that the rests have to be there since it's strictly in four parts, and I like the archaicness of that notional style. I wouldn't change it to three semiquavers, no; it'd look too much like an anapaest or a displaced dactyl and that'll affect how the pianist would play it, whereas what I'm going for are three terse and more-or-less equal utterances (you could call it a tribrach, I suppose). I'll look over how it could be engraved better in my own time. I get what you mean about Boulez, even if I'm using a rather different compositional procedure (which I think I devised myself, but it might have slipped in from somewhere and I just can't recall). Could I just clarify what you mean when you refer to 'cautioning about enharmonics every so often'? Is this a notational issue (sticking in more cautionary accidentals/changing 'incongruous' spelling), or do you simply mean that you feel that the false relations can be a bit gratuitous at times?

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