Leaderboard

I think I am in a sort of similar development. I like to be somewhat embedded in a tonal setting though. But I found studying Bergs violin concerto (yeah I repeat this over and over), very helpful. My first positive experience with tonerows was in Barbers piano sonata, a tonal piece where I'm very fond of. To expand my harmonic language, and grow beyond the romantic one, the book of Persichetti "Twentieth century harmony, creative aspects and practice" was helpful to me, orderly introducing (for me) new ways to approach (tonal, modal, polytonal, etc...) harmony.

I need to develop stuff. :P

I need to use more complex rhythms

Ok. I know didn't exist interval variety. I think I choose the worst series. Up and down pizzicato. Ok. The third suggestion I don't understand well. You are suggesting me using other compositional techniques? Thanks! Just I need! Really I want you recommend me what tecniques can use. And where learn it from. Thanks.

Some other toughs: I'm applying to the basic course. They really don't expect much, but I want to improve (and compensing the lack of a electro acoustic work xD) I have a month to finish this. Thanks =)

I'd say these don't work very well because there's not enough interval variety. Also what that other guy said. You need to specify up and down pizz. in the second movement. Some of that fast stuff is awkward/impossible. I like the 3rd movement better, but they're both boring. You gotta ask you're self: why I am I writing in a 12-tone style? It's been done to death already.

I'm sure this could develop into something good! It's refreshing to see some good-old-fashioned twelve-tone rows. ;) What exactly do you refer to with "free form"? It would be interesting to hear your own explanation of this. Have you thought of expanding the rhythmic aspect of this work? Both pieces are rhythmically predictable which contributes to making the music less interesting. Using twelve-tone rows with common rhythmic patterns in tonal music is hard to get away with. I get the feeling that you might have been inspired by Schoenberg's 4th string quartet, if not, then I suggest that you listen to it. It has a good balance between a little unpredictable rhythms but still not making it feel all random. Of course you can't write like that since you are working on a duo, but the way of thinking is still very similar. And apart from all that, a notation question. Why don't you write out the repeating notes in the second movement? I think it will be easier for the musicians to read their part since those abbreviations often only occur on single notes in the middle between regular notes. I would only write abbreviations like that when a part is repeating the same note for a more consistent period. Keep up the good work!

Oh, please. Having somebody as your mentor doesn't mean they're brain-washing you. They're not going to tell you what to write, they'll facilitate the creative process. There are so many incredibly important things you learn form a teacher besides just, say, theory or orchestration.