Leaderboard

A piece I wrote for a newly formed wind quintet at my university, though they haven't got to trying it yet. My longest single-movement work so far, and it took a lot of work to keep it going and (hopefully) keep it fresh. It was a great opportunity to play around with tonality and harmony though. I kept adding in wholetone scales whenever I could because the world needs more wholetone. (Halloween edit: Here's the recording - https://www.youtube.com/watch?v=35dE4QPo2H4)

This piece was supposed to be an introit or "requiem" movement to a requiem I was writing until I realized I hate writing with established formats (i.e. symphony, sonata, etc.) so this piece remains as is. As such, the final buildup was planned to up an octave and take two phrases instead of one to descend the second time through, but I never wrote a "second time through" so what's here is what's here. Enjoy!

I'm asking the poll because of this; since summer, the turnout steadily declined and completely sunk with this one, so I want to know why before we make another.

I like the pieces. But in terms of "economy" (sorry but I always have it in mind, don't know why) I'm not sure if eight players are needed here. Considering the whole set sound together just a few bars... Probably the same effect would be reached with a quartet... Anyway, the octet would make sense in a program with more pieces... Nice sounds, too (the virtual instruments).

Hi I've been working on something simple but funny (for me). Inspired in the life of my cats, I'm doing a king of little suite for flute, clarinet and piano. The clarinet is not transposed in the score. Well, music for me is this, too... T I've written too pieces (working on more): Awakening: the moment when the all come back from the dreamworld. Purring: including the sound of Dexter.

Do you mean a dim. vii chord or a V chord? Either way, remember that the leading tone itself can't be doubled if it's in the bass voice. Also, for the dim. vii chord (or for V7), the 4th scale degree should resolve downward to the third of the tonic chord. If you're doing a fully diminished vii seventh chord, have that 6th scale degree resolve downward to the 5th. I'm not sure if that would necessarily be the case for a half-diminished vii seventh chord. If you're going for a cadence to the tonic, I'd say to try your best to use contrary motion between the melody and bass line. I may be missing some things, as this is all from memory.