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Found 7 results

  1. Hi, part of my examples about several ways of modulation, I wrote this little piece using chromatic mediant modulation. I have two new dogs: a Puli called Happy (5 months old) and a Spanish Water Dog called Joy (2 months old)... I have 8 animals here.... But these are newbies. JOY.pdf (with notes) Joy_.pdf
  2. Hi I'm writing a series of short pieces as examples for several entires I'm doing in a blog about all the ways of modulation (as far as I know). And there are many... In this one, I use enharmonic modulation by French augmented sixth, and by augmented triads (bIII+) in minor modes. So, I have to stay tonal for a while I made a video, too. not so happy - SCORE.pdf
  3. Instructor: @Monarcheon Students Allowing: 7 Initial Writing Requirement: use as many bars necessary, piano Initial Writing Requirement Deadline: April 20th Special Writing Requirement: use and label all 3 techniques In the second of these harmonic technique series, it's going to focus a lot on modulation and phrase alteration. These are good for keeping your audience guessing, and can easily grow and come back from a developing arc, at least harmonically. These are: Saturation (chromatic or diatonic) Direct/phrase modulations Reharmonization Saturation is a way
  4. First and foremost; I do not know anything about string playing. As a result of such inadequacy, there are maybe some double stops (don't think triple stops) that are a bit hard to play. I've had a friend look at it, and I've had the string teacher at my school look at it. My friend the string teacher is convinced that it is almost definitively a college piece. I just wanted to write a fugue. P.s. The ending might be a little. inappropriate. it was meant to be funny but now that i look at it after the fact, I think I might implore a different last few bars.
  5. Is it so important to avoid any reference to the 1st key in the 2nd theme of the exposition? I think it's no big deal, but if I ever post the sonata form I'm writing, I guess everybody will point it out and bash the piece. The piece starts in G min and modulates to Eb maj for the 2nd theme group. However, I made a feminine P.A.C. in G min at the end of a phrase of the 2nd theme, even though that key is not "confirmed". Eb maj is still the prevailing key: Start 2nd theme--> Eb [...] Fmi Ab/C D7 Gmi Fmi7 Eb/G [...] Eb/Bb Bb7 Eb <-- End I've tried workarounds (de
  6. Hi, I'm new here, so forgive me if I'm doing something wrong. I'm writing a sonata-form movement in Romantic style (Schubert, Brahms...). I've written: 1st theme (8+8 bars), ending on i (G min) transition (G min >> Eb) 8 bars of the 2nd theme (starts at bar 57), ending on V (Bb major chord) However, I'm stuck here. :dunno: I've just moved from a classical to a romantic style, and the proportions are bigger. I know I should write something looser and more lyrical here, and it should be roughly 50-60 bars long for balance. I could use more than 1 theme (?), and perfect cadence
  7. Hi everyone So I have been attempting modulation and I've started putting secondary dominants to good use. I'm reading about things like picardy 3rds and borrowed chords to try and add more harmonic interest, but I'm not very good at using them without them standing out to much. This piece has some sort of modulation at the beginning and I would like to know what's going on. I couldn't even hear there was any sort of modulation happeneing until I played the melody on keyboard. It uses the notes E and F♯, but sometimes there is an F in there: http://www.youtube.com/watch?v=DggH6CReCNA Melo
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