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I'm composing this piece for a challenge where the challenge is to compose a romantic piece(romantic in the sense of love, not necessarily the era). What I think about when I think about romantic love is a complicated process that starts with sudden desire(pickup in momentum in the cello leading to harmonization in sixths is what I did to try to get that across), a friendly stage with exchanges, a lot like a friendship but deeper(this is what I'm at now in my piece, an exchange of 2 motives between the flute's motive from the first theme and a second motive in the cello, like 2 people exchanging ideas and seemingly a state of agreement(acceleration towards the cadence in both motives)), a state of anger and not wanting to be with the other person, and a final calming realization phase when true love is reached. This fits well with Sonata Form and so my piece is probably going to end up in Sonata Form, just unconsciously, because of the associations with the start of a romantic relationship.

And Flute and Cello are 2 of my favorite instruments. I can't say that I have a favorite woodwind though, they are all great, except maybe the Recorder. But the Cello is my favorite string instrument. Yes, I know, the flute motive slowly shifts across the beats of 4/4 in the first 10 bars. That metric shift just kind of naturally arised from me developing the motive into the flute dominant First Theme. I am stuck though at the cadence in the next 8 or 9 bars. It feels like the Cello wants to continue rising in pitch as does the Flute, as well as accelerate even further to the cadence. But I'm not sure what to do. It's mainly the Cello I am concerned about. It's approaching treble register pitch and the treble register is hard, even for an experienced cellist(Eb4 is not that far off from G4, the note at which I would consider possibly putting the cello in Treble Clef).

Right away you might be like:

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Db Major? That's a hard key, why not transpose it?

to which I would be like:

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So what if it's hard? Db Major is a very passionate and romantic key and I'm sure the cellist could handle it just fine. I know the flutist could.

So, what do you think of my piece so far? Any advice regarding the acceleration to the cadence? Are the 32nds in the Cello motive too fast?

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It breaks off leading into an interrupted cadence, a returne to sustained cello to finally resolve in a perfect or imperfect cadence depending what you want to do next. The 5ths in bar 4 sound clumsy. One possibility is to write the cello part as Ab (dotted crotchet) Gb F Db C Eb (all quavers).

Edited by Quinn
typo
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  • 2 weeks later...
1 minute ago, Esper said:

You are off to a good beginning. I would have lowered the volume of the cello; so it does not over bleed the flute. 

 

Well, I'm not at that stage of writing down the dynamics yet, I'm sure I'll make it so the flute is more easily heard in the first 10 bars when I get to putting in the dynamics, maybe a piano/pianissimo kind of split or something.

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If I may chime in: I feel like your first part(dubbed "Initial Infantuation") could use a more defined outline. Maybe more rhythmic variation, a few rests, characteristic jumps instead of seconds or unusual harmony. As it is, at least to me it does not really convey a sense of memorability or infantuation.

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