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This is a short piano piece that I composed last night while I was playing around on my piano. It is not meant to be complicated or super interesting (not that I am capable of creating anything complicated lol). I was really going for the feeling of background music and something nice to just listen to. 

Please tell me what you guys think. 

Thanks 🙂

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The beginning is promising with the polythythm 4:3 and the ritardando, good effect.

Many ideas along the piece, sometimes happens when you write something quickly. I like the chord in measure 36 it comes by surprise and it's a contrast (the chord by fourths in the left hand). There are some parallel fifths here and there but in this context they sound well (for me). The only thing I don't like (speaking in general) is to double the melody almost all the time. I know many people like to do it, but whenever I am thinking to do it I ask myself: why, what for? I left it for special moments.

Anyway, I like it.

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14 hours ago, Luis Hernández said:

The only thing I don't like (speaking in general) is to double the melody almost all the time. I know many people like to do it, but whenever I am thinking to do it I ask myself: why, what for?

I almost never double my melody line when writing for anything other than orchestras.

Even when I do it for orchestras it... doesn't feel right to me for some reason.

I guess it could help to make the melody more... powerful for a moment?

Anyway, you're right, playing in octaves during the whole piece is like playing loud all the time.

It's no longer a special thing, and by that you're taking away one of your tools.

About an hour ago I let my father listen to the Rite of Spring.

When we got to the second part, he suddenly asked me:

"It was so loud and powerful a moment ago, why is it so quiet now?"

And my answer was: 

"In order to create the maximum rise you have to start from nearly zero."

I'm not sure that it's relevant to the issue, but... Idk, I feel it's connected somehow.

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@Rabbival507 Of course, I think what you say is relevant. This is something I learned from professional composers. If you do something is for a purpose, and octaves can be effective when there is a contrast. on the other hand, if the passage is quick, octaves make it more difficult. If it's a question of "filling" the gap between the lead voice and tne rest of the notes, I would consider harmonizing by sixths (or whatever, harmonizing by 4ths + 7ths is cool in some styles).

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@Rabbival507 @Luis Hernández Thanks for the feedback. I actually really like the sound of octaves as melody as it helps the melody stand out and just sounds nice in general (to me), but I understand how conserving them until specific moments can have effect. However with that being said, I do definitely see some moments in the piece where the octaves aren't really needed, so I will take a look into that. 

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Yeah, I get what you're all saying, actually. @Jelly It definitely has the feel of some youtube "piano background music" playlists, not in a bad way. I also like the sound of melodic octaves in the upper range, and I like the sound of harmonized melody as well - so I guess that makes me crazy for liking both haha. I'd agree and say to be intentional about when/how you use your tools and to what effect. @Rabbival507's quote about setting up the moment is apt for this, I think - make the most of the tools you have to guide the listener/performer to the emotional place you want them to go. I'd also encourage you to be aware of the interplay between your parts, even in quick writing scenarios - watch for 2nds/9ths and other harmonic implications that you might not intend for that moment.

Otherwise, stylistically appropriate and a nice piece!

Gustav Johnson

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Very nice. I'd imagine this played with a lot of rubato! Measures 15 & 20 may be a bit tricky since the notes are crossing each other and at least two of the notes (B's) are played with both hands at the same time. If you meant that I'd add a parenthesis surrounding the right hand note. Perhaps you can change from octaves to sixths like one of the PP suggested?

In measures 12 and 13, consider making the first beat of the left hand two eighth notes (C# & E) instead of a quarter note. When I played through it the eighth notes leading to the the sudden stopped motion of the half notes seemed to fit better than just a quarter note.

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