Concertino for oboe and harp

Hello, everyone! How are you all doing?

I’m happy to present my latest composition to you. This time it’s my second Concertino for oboe and harp: https://youtu.be/JxpGgbgH_Y4?is=gqxZEb_TLF88EW9e

Thank you to everyone who listens to the piece, I really appreciate it!

Edited Monday at 05:24 AM4 days by Petr Kopuletý

Thanks. What is your theoretical approach to composition? Do you think in chords, voice leading, traditional harmony etc?

8 minutes ago, Markus Boyd said:

Thanks. What is your theoretical approach to composition? Do you think in chords, voice leading, traditional harmony etc?

Hello, thank you for listening, I really appreciate it!

I view music as something living and fluid, much like flowing water. Even when the structure is crafted beneath the surface, I prefer the form to avoid feeling obvious or rigid upon first listen. My approach, therefore, focuses less on strict harmonic formulas and more on movement, texture, color, and the natural evolution of musical ideas. While traditional harmony and voice leading remain important to me, I treat them organically and flexibly rather than as strict academic exercises.

6 minutes ago, Petr Kopuletý said:

Hello, thank you for listening, I really appreciate it!

I view music as something living and fluid, much like flowing water. Even when the structure is crafted beneath the surface, I prefer the form to avoid feeling obvious or rigid upon first listen. My approach, therefore, focuses less on strict harmonic formulas and more on movement, texture, color, and the natural evolution of musical ideas. While traditional harmony and voice leading remain important to me, I treat them organically and flexibly rather than as strict academic exercises.

Thanks for sharing.

That is an interesting approach that most likely gives you considerable expressive freedom. Although I would caution against interpreting traditional harmony/voice leading as "strict academic exercise" - like something detached from the real world. If anything, those traditions emerged fundamentally around what sound we perceive as being pleasant and unpleasant. For composers of the common practice period, this became an natural language of sort; but today, you're right, it may seem an academic pursuit to write in a way that revives past traditions.

3 minutes ago, Markus Boyd said:

Thanks for sharing.

That is an interesting approach that most likely gives you considerable expressive freedom. Although I would caution against interpreting traditional harmony/voice leading as "strict academic exercise" - like something detached from the real world. If anything, those traditions emerged fundamentally around what sound we perceive as being pleasant and unpleasant. For composers of the common practice period, this became an natural language of sort; but today, you're right, it may seem an academic pursuit to write in a way that revives past traditions.

3 minutes ago, Markus Boyd said:

Thanks for sharing.

That is an interesting approach that most likely gives you considerable expressive freedom. Although I would caution against interpreting traditional harmony/voice leading as "strict academic exercise" - like something detached from the real world. If anything, those traditions emerged fundamentally around what sound we perceive as being pleasant and unpleasant. For composers of the common practice period, this became an natural language of sort; but today, you're right, it may seem an academic pursuit to write in a way that revives past traditions.

Of course, I didn’t mean it quite that literally 😅
Form and knowledge of music theory are obviously important, I just meant to say that the form I incorporate into my compositions isn’t always immediately apparent 🙂