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Rileyt

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This is a piece I wrote last week. I have separated the ‘movements’ by one measure long rests, and I understand if that may seem a bit too long; I have made them shorter in my more recent pieces.

The reason I named it “Try, Try Again” was because the second and fourth movements reminded me of someone making a mistake whereas the other movements sounded like someone achieving or succeeding. I also included a quote on the last page of the score that I felt went along with the title of the piece.

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musically beautiful. If you are going to double the sounds, you probably don't need that much instrument ? or you can use the 3's and 6's in other instruments. The piece you wrote can be easily arranged for flute and piano.but this is your choice, just a little advice. it is also nice this way. 

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On 7/12/2020 at 12:27 PM, Monarcheon said:

Why is that a problem?

 

I would say that staying diatonic restricts your tonal language and thereby restricts your ability to convey meaning, unless you use it intentionally as a device, for example at the end of a piece or in a finale in which staying diatonic conveys a sense of solidity in the key. It is by no means bad to stay diatonic but it opens up a world of possibility-SONATA FORM, among many other things-expressively and compositionally. 

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19 minutes ago, wesleymiller said:

 

I would say that staying diatonic restricts your tonal language and thereby restricts your ability to convey meaning, unless you use it intentionally as a device, for example at the end of a piece or in a finale in which staying diatonic conveys a sense of solidity in the key. It is by no means bad to stay diatonic but it opens up a world of possibility-SONATA FORM, among many other things-expressively and compositionally. 

 

I don't know why sonata form is something to be necessarily sought after...

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