Waltz in g minor

Here my new waltz hope you like it i would like for harmony

Waltz.pdf

Edited Tuesday at 03:51 AM5 days by Martynas123

Thanks for sharing! Just to clarify for myself and others who may view this post, are you looking for comments of any kind?

1 hour ago, MK_Piano said:

Thanks for sharing! Just to clarify for myself and others who may view this post, are you looking for comments of any kind?

i would like to have harmony

Hi Martynas.

Harmony-wise, then, it works, but I suppose you'd like it less straight-forward. There are, again, countless ways of achieving a more rich sound harmony-wise. And that is something you'll only get through practice, trial & error, and studying other compositions and harmony/counterpoint books. Some rough advise, as there are many "what ifs" that can arise:

• Treat the bass as a melody with its own idiosyncrasy if you want more movement there.

• Treat differently the the bass (tempo 1) and the middle voices of the accompaniment (tempo 2, 3, generally).

• Mind chord inversions. If you don't want to add a lot of richness but you still want to make this a bit less plain in the accompaniment voices, well thought chord inversions can do the work. Using octaves in the bass, again well applied, could result in a more convincing result, too.

And that'd be it, without getting much into details.
Best regards.

3 hours ago, Omicronrg9 said:

Hi Martynas.

Harmony-wise, then, it works, but I suppose you'd like it less straight-forward. There are, again, countless ways of achieving a more rich sound harmony-wise. And that is something you'll only get through practice, trial & error, and studying other compositions and harmony/counterpoint books. Some rough advise, as there are many "what ifs" that can arise:

• Treat the bass as a melody with its own idiosyncrasy if you want more movement there.

• Treat differently the the bass (tempo 1) and the middle voices of the accompaniment (tempo 2, 3, generally).

• Mind chord inversions. If you don't want to add a lot of richness but you still want to make this a bit less plain in the accompaniment voices, well thought chord inversions can do the work. Using octaves in the bass, again well applied, could result in a more convincing result, too.

And that'd be it, without getting much into details.
Best regards.

thanks.

I listened to your waltz. The concept strikes me as interesting, and so does the way you work with harmony: you clearly try to move away from conventional progressions. The semitone relationship between the triads sounds interesting and vivid. But, purely in my opinion, it isn't very well realized here. If you make a signature feature out of this progression, it should be carried through the whole piece, very clearly and consistently. Yet in bars 6–7, and again in 9–10, you break your own scheme, and the piece goes from interesting to a bit dull. If you had held on to this harmonic ostinato (G minor and F-sharp minor), it would have come out much more convincing. Good luck! =)