Prelude in C Major.

Hi everyone.  Gosh it has been lightyears since I sat down and actually wrote a piece. (lol) 

Background of this composition: I wanted to capture the same musical energy and vigor of the WTC preludes. Simple and elegant!  Thus, the first thing step, as always, I wrote down a simple idea that would flourish with in the composition as a whole. You may notice that there are hints of chromatics (here and there) and inversions of other harmonies. (I wanted to use 9th chord and 13 chords, but they were not used in this period).  

I am rather pleased with end result.  

A curious piece. Generally, in my opinion, you have to be a genius for a prelude or a study based on repeated patterns to be of great musical interest, apart from being didactic. 
In this case, the passivity of the left hand leaves all the weight to the other part, which is based on scales and arpeggios.
The most interesting thing is that there is something similar to what happens in minimalism, as subtractions of notes.

1 hour ago, Luis Hernández said:

A curious piece. Generally, in my opinion, you have to be a genius for a prelude or a study based on repeated patterns to be of great musical interest, apart from being didactic. 
In this case, the passivity of the left hand leaves all the weight to the other part, which is based on scales and arpeggios.
The most interesting thing is that there is something similar to what happens in minimalism, as subtractions of notes.

 

 Thank you for the review.  I appreciate it! Bach was primarily resource for this. His preludes often had repeating patterns. One could say that he influenced minimalist composer, too.  🙂

I enjoyed this.  The only thing that didn't sound quite right to me is that it seems to end somewhat abruptly.  We have three measures on the dominant at m. 30, then a cadence in mm. 33-34 that just stops on the tonic chord.  I was expecting at least to get a measure of the arpeggio pattern on the tonic at the end, and it felt a little "off" when that didn't happen.

2 hours ago, Aiwendil said:

I enjoyed this.  The only thing that didn't sound quite right to me is that it seems to end somewhat abruptly.  We have three measures on the dominant at m. 30, then a cadence in mm. 33-34 that just stops on the tonic chord.  I was expecting at least to get a measure of the arpeggio pattern on the tonic at the end, and it felt a little "off" when that didn't happen.

 

When we are on V at M. 30 it starts as NP6 that resolves to the Dominant. The bass acts as a pedal point...it also connects V to I, which creates a I64-V-I Pattern. 

3 hours ago, Kvothe said:

 

When we are on V at M. 30 it starts as NP6 that resolves to the Dominant. The bass acts as a pedal point...it also connects V to I, which creates a I64-V-I Pattern. 

 

I misspoke after glancing at the score too quickly.

Nonetheless, my point stands.  After that long cadential sequence, just ending cold on a tonic chord sounds way too abrupt for me.

20 minutes ago, Aiwendil said:

I misspoke after glancing at the score too quickly.

Nonetheless, my point stands.  After that long cadential sequence, just ending cold on a tonic chord sounds way too abrupt for me.

 

That is fine. I appreciate the feedback.

Hello @Kvothe,

I like the simplicity of the prelude with repeating pattern, and you have added some modern favour in it. I like those harmonies and I think you can add more of that! It recalls me one of Vince's prelude:

From what @Aiwendil had said, I actually think for the ending you may also extend it by using the tonic pedal like what Bach did in the WTCI Prelude (like the C major and C minor one)

Thx for sharing!

Henry