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Found 7 results

  1. This is the result of an art trade (or collab) I did with Michellle Walker (an artist who draws). The point of the piece is to describe some kind of mysterious and nostalgic atmosphere. (I have spent more time in this piece than what I'm willing to admit.) This piece is a bit experimental from a formal point of view. The idea was to set all the main motifs of the whole piece in very few measures (basically the introduction) and then develope them in some kind of improvisational style. So basically the consistency of the work comes from the constant use of these little elements and t
  2. Hello again, friends. I've been in sort of a composing funk for the past few months, lots of life stressors and, really, an utter lack of motivation to blame. I was hoping to write something on a grander scale but I had to settle for solo piano once again. You know what they say: beggars can't be choosers. This is the opening prelude to what will likely become another suite for piano. It's written in harmonic language derived from non-heptatonic scales (my favorite, as some of you know by now), and, as such, may sound unpleasantly dissonant. The chords are quartal or quintal rather t
  3. Hello, all! Here's my most recent composition. This is a more sonorous piano piece, less "dissonant" perhaps, though it's still based on the symmetrical scales of the prelude I posted recently. The title means "silver nocturne," and is intended to be liquid and smooth and placid, like rippling moonlight on a quiet lake. It will likely become incorporated as a "slow" movement into a larger work. The work features motivic, rather than thematic, development; you will notice the same motif weave in and out of the sections. Please let me know what you think of this. I'd love feedback of a
  4. I set out to challenge myself with this particular work. As chromaticism is a strong component of my musical language -I decided to do away with it for this particular episode. The transitions are more seamless and are derived from fragments of the ending section (something I'm becoming fond of doing, to be honest). The score is a tad messy -but I'll provide a clean copy eventually.
  5. Usually, I don't like working on fuges. Although I love counterpoint, and use it all the time, so many rules are not what I like most. So, I wrote this piece using different classic modes, which provide more freedom. FUGA MODAL Partitura completa.pdf FUGA MODAL.mp3
  6. This is a short piece based on a nonatonic scale (which has no specific name): C - C# - D - E - F - F# - G - A - B The harmony comes from the combination of the notes of the scale, don't expect "normal" chords. Now I'm working in the second part of the "suite" using this scale.
  7. Hi everyone , I have any question :) . Firstly my English is very bad. So I'm sorry . I'm composition student at university and I have scholarship but my class is preparation . My Professor and my friend says my compositions very good but I'm writing tonal music but I cant write contemporary music . example : I cant write Whole tone music or I cant write like Stravinsky . What can I do ? I want to write contemporary music , whole tone and like stravinsky . My Professor said that so early but my other Professor said that you can start contemporary . What can I do ? :) Thak you . I'm
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