Experimenting with modal / non-functional writing

Good evening,

Many of you know me as a die hard zealot of the common practice period. But I have been experimenting recently with model / non-functional harmony. My reason for this centre largely on my admiration for the music of Jeremy Soule (famous as the composer of the video game series 'Elder Scrolls'), the film music of Howard Shore (e.g. LOTR) as well as my general appreciation of minimalism (Max Richter, for example).

In many respects the theoretical basis of modal and non-functional harmony could not be more different - even sacrilegious - compared with CCP given the more 'liberal' approach to voice leading. For example, there is often an appetite for omitting the third of a chord for the effect it produces can be aligned with the 'scene' being supported (e.g. inducing a feeling of emptiness and mystery) as well as usage of consecutive 5ths to produce an 'archaic' style of voice (which could work if the scene involves exploration of a dark, ancient ruin, for example).

Thus, with this type of music, what matters is less the 'rules' than the effect the writing produces.

This has fascinated me. Although my own background, in which many of these 'rules have been embedded into my consciousness, taking this different approach to music has its challenges. It is all too tempting to revert to the voice leading that I know best. But it doesn't necessarily need to be one or the other... perhaps I can combine the two approaches.

So I share with you my first serious attempt at this style. A few notes on my approach:

• In the first half, I prioritize establishing a tonal centre around C & G. The E is intentionally omitted to create tonal ambiguity - are we in C minor or C major?

• The first violin opens with a central motif that I later manipulate and exchange between the different voices at various pitches. This motif applies chromaticism that further adds mystery to the tonal centre

• Resolutions are avoided in a traditional sense: the cadence may end on an inversion without the third.

Only towards the end of the piece do I start to apply resolutions but not without several evasions, before finishing with a compound cadence that marks the first and only moment with a complete cadence.

Naturally I'd like to hear your thoughts. What do you feel? Also - those experienced in this type of music - what could I have done better?

With thanks,

Markus

Weariness.pdf

Edited 20 hours ago20 hr by Markus Boyd

Hello @Markus Boyd. I hope everything around you is going well.

As for this feedback, I want to say I'm sorry that I can't provide you with constructive feedback based on music theory.
But I will try my best to help just a little bit for your improvement.

Impression and Feedback

First of all, the very first Violin 1 note immediately drew me into your work.
I personally feel this is very noteworthy because it is very difficult to immerse people in a piece of music.
Perhaps that is because that violin sound was probably a contrast to the abruptness of Violin 1 against the fluid opening by the quiet Violin 2 and Viola.
My suggestion is: how about making the initial performance of Violin 2 and Viola a little longer, and delaying the introduction of Violin 1 a bit?
I don't think that even if Violin 2 and Viola are played just a little longer, it will cause people to get bored, and depending on the timing, it may even draw them in more.
I also liked the development of the harmony from 0:40.
One thing I liked was the final ending from 1:23.
Personally, I thought it could have been extended a little more with some kind of development.
The progression was a little too cheerful, and I felt it was slightly out of sync with the somewhat melancholic atmosphere of the piece.
This is just my personal opinion, so please don't take it too seriously.
Overall, I think it's a good piece.

Suggested works

In the middle section of this piece, I personally felt a similar vibe to Ligeti's Atmosphères.
At the same time, I also felt the vibes of Pärt's Tabula Rasa: I. Silentium.
I think Markus is familiar with both, so I'll share another piece with you.
You may already know this, but I felt a connection between your work and this one.
Please take it into consideration :)

I hope this feedback helps you a bit.

Best,

Lithl.