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Found 8 results

  1. First part of a short sonatina. Called arcaica (ancient) because it uses modes, but also PC set techniques. Played live.
  2. Hello everyone, I have been studying music composition for 6 months over books and the internet but since none of my acquaintances knows about music composition the feedback I receive is null. I would greatly appreciate that you could give me any. I highly recommend listening to the DAW version. I am also a beginner using DAW but still the quality of the sound is thousand times better. There is really many things I do not know and many doubts, so I will be thankful for any feedback! DAW (reaper) version: https://drive.google.com/file/d/1gQuk0ZNcy8HyebqaTo9f492h6I9Ym2
  3. Some short pieces. Six Piano Pieces.pdf 01 Aeolian (Winds).mp3 02 The Hummingbird's Phrygian Flight.mp3 03 Quick Diminished Changes.mp3 04 Can We Be Friends.mp3 05 Longing Worlds.mp3 06 Gemini II.mp3
  4. @ComposerMITA wrote a piece a few weeks ago based on a concept of lines which function relatively independent of one another and which also change 1) tonal centers and 2) modes every couple measures. It sounded like an interesting experiment, so I thought I'd give it a whirl. I-dunno, I don't hate it exactly, but it sits with me the same way that free jazz and 12-tone music do. *shrug* It's definitely a good exercise in modes, in part writing, and in trying to make each line work on its own regardless of the others. The original project requirements call for no thought given between the l
  5. This is another exploration into scales, as part of the Mediterranean Suite. Lucentum is the Roman name of my city, and means Light or Star... This city is very old. It seems to be founded by the Iberos (¿Iberians?). It was a Phoenician and a Greek colony (named Akra Leuka = White Coast). Afterwards a Roman city (Lucentum), and in 8th century the Arabs entered and stayed for 800 years, they gave the actual name: Alicante (from the Arab names: Ali and Cantara, who were a couple in love that ended in tragedy, of course). Well, this piece is a sort of nocturno with a tonal part in the b
  6. Hi Bearing in mind the 12 semitones of the scale (no microtones) and excluding transpositions, the number of possible scales/modes are: 2E11 = 2048 This brings the possibility of building 2048 different harmonic systems. I don't mean using scales as improvistion tools over some chords. I mean using any scale to build chords from it (by thirds, but also by seconds, fourths, fifths, hybrids, etc...) and use them to harmonize whan we are composing. Even only ONE note may grow to a harmonic system. See Ligeti's Musica Ricercata (the first piece is built only with a note: A
  7. Okay, so I've scoured the internet, but I still don't get it... In the simplest language you can muster, what are the rules for writing accidentals? When a note you need for a chord is not included in your current key, how do you decide whether to write it as an A# and when as a B flat? When a C flat vs. a B natural? And when is it appropriate to use double flats and sharps? Here's my best guess at some rules. If someone could tell me where I'm correct, where I'm wrong, and what I'm missing, I'd appreciate the help. I never took theory, so please click your tongue at my i
  8. Hello everyone, I'm taking AP Music Theory and my teacher wants us to write out a 4 measure melody in three different modes. He gave us an example by playing Yankee Doodle in all the various modes, but I'm not sure if I'm interpreting what he wants correctly... Let's say I write a melody based on the C major scale. If I wanted to make it Lydian would I just raise all the 4's or would I start the melody on F? I hope I'm making sense here, thanks! :sweat:
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