Leaderboard

Very much expected first three places, as the quality of these works considerably overpowers the other four.

I'd actually like to judge this one please. Large ensemble stuff is my specialty.

:lol: This Austenite guy gets robbed again. Did Bob Arum get himself involved at any point?

Thanks, Morivou, Austenite, and Ananth. And, of course, a thank you to the judges who took the time to write their insightful reviews of our pieces. Sojar, you must have looked at my piece right away and then not checked it again. I had initially made a mistake with the score and then posted the correct transposed score before 7 or 8 p.m. on July 3rd. (Morivou had given me permission so long as I didn't make any other alterations.)

Congrats to TJS - his piece was indeed kind of the competition's "dark horse" which ended up carrying the race. Another one-point loss. What else could be expected?

I can see what you mean, but i too would advise using the chamber music section. The reason why there is a sub-section for solo keyboard music is that due to its polylinear abilities, the majority of music written for keyboard instruments is unaccompanied. Works for monophonic instruments tend to feature a keyboard accompaniment which it would seem most appropriate to describe as forming a chamber ensemble. Coupled with the fact that, unlike the solo piano, in the concert performance tradition it is rare for a recital not to contain at least some duo repertoire, it would therefore seem appropriate to include unaccompanied works for these instruments in the same chamber music category.

The F in the 11th bar is in harsh relation with the F# in the 13th bar because one intervening note (I guess it's the G, since you've said it goes up) is simply not enough for the ears to forget. Moreover, F is a "fa" note while F# is a "mi" note producing the "mi against fa" effect, which considered bad in that time, both melodically and harmonically. So this is bad: F G F# G If you lead F (fa) down, the situation is better, but still bad: F E F# G The solution of the student is ok, but still produces a poor melody I think: F# G F# G Try singing(!) your countermelody and you will know if it is melodically bad or good. About the 10th->8ve, it's simply a false cadence, I think, because it mimics a 3rd->unison cadence at an octave distance. You can avoid using it in 2 parts. The best to approach a 8ve is oblique motion or contrary motion from the 6th. Máté

I don't have the book but what I think he's saying is that the he wanted the melody to ascend, so he sharpened the F because the F# "wants" to go up, specifically, to G (although it doesn't have to). Now if it were just an F, the note would "want" to go down, specifically, to E (doesn't have to). Those are the "natural" resolutions of the notes. Take this with a grain of salt, I don't have the book and have only skimmed through it a few times before. You don't have to worry about taking the melody out of the mode since music nowadays is pretty much all tonal, as opposed to modal .