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Eviternity (Opus 24) is a piano monologue. Even though it has slight additions of cello, glockenspiel, and bass guitar as small ornaments to spice the whole work up, it is mostly a highlight on piano. I was not sure whether I can post it here, but I treat it as a piano work in the highest degree; the composition could be played as a soliloquy without any other instruments. I had some harmonic issues when writing this piece, so you may find slight dissonances. However, I left those unchanged in the end (I do not wish to stick to consonances all the time). This composition is also known as "the most cheesy work I've ever written." Thank you for listening!

 

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Hi

 

First, I like the idea of "Monologue" for piano....

I love this piece. The ornaments with other instruments are important, but the piano is the main character. I don't feel any disturbance in my ear because of the dissonances. Currentily, in an eclectic style, I think the dissonance/consonance struggle has no sense.

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I love it!

The repeting themes remind me of minimalism, but other parts don't sound minimalistic at all.
The ornamentations with other instruments add an extra emotional dimension.

I thought there was a lack of coherency in the middle, when listening, but then the 'A-theme' began for the second time and that solves this coherency problem.

Well done!

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The major tonic to minor tonic chord progressions were okay, but the sharp iii chord to tonic minor just sounded awkward to me.
In general, I really liked your harmonic progressions through the piece, but your piano writing could have benefitted from a little more coherence in your inversions. Sometimes it felt really naked when it was the left hand, unsupported.
Your melodies gave me the impression you were reaching to find new ways to make the chord progression interesting sometimes. Maybe that's just me, but it felt a little strained sometimes.

Good job, cheers!

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On 1.05.2017 at 7:18 AM, Luis Hernández said:

Currentily, in an eclectic style, I think the dissonance/consonance struggle has no sense.

 

I also feel this way. I just thought it may be significant to indicate that (in case someone finds those dissonances too harsh).

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On 1.05.2017 at 2:16 PM, Monarcheon said:

Sometimes it felt really naked when it was the left hand, unsupported.
Your melodies gave me the impression you were reaching to find new ways to make the chord progression interesting sometimes. Maybe that's just me, but it felt a little strained sometimes.

Do you mean the parts where left hand plays alone in inversions? I wasn't sure how to actually deal with that part. What do you think would be the best way to handle such issues? And yes, I tried to add a bit more colour to turn simple melodies into something interesting, but unfortunately in my case it always turns out to feel awkward. Thank you for listening and helpful remarks!

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10 hours ago, SonatainfSharp said:

I like it, but it sounds a little too inspired by Comptine d'Un Autre Été.

 

Yann Tiersen? Yes I enjoy his compositions, but I do not use his works as inspirations. But if you say so, maybe I mimicked something unconsiously. Can you please tell me more precisely where you see the similarities (or which parts sounds similar)? The Alberti bass? Melody? I do not want to be perceived as a copycat. Thank you.

Edited by Lilac Lucrezia

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