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The answers to some of the questions are on the bottom of this post. Italicized questions should get a short writing response (a sentence or two) along with the composition portion. 1. View the attached score and listen to a recording. 2. The first step when analyzing a piece is to discern its form. Attempt to discern the parts. Then, look for how many phrases are used in each section. What makes a section more similar or dissimilar to another? 3a. The whole step interval (G & A) bounced around the bottom of page two breaks the obvious pattern. Same with the final Piú mosso section. Why would he write it like this? Obviously it's not simply to sound "cool". 3b. Do the non-A sections have any relation to themselves? To the A sections? If so, what is it? If not, why would we write it like this? 4. In almost every section, the pitches do not fall into any pre-established scale. This is because this piece utilizes intervallic mirror technique, where the pitches are reflected exactly upon a tonic note. Your task is to find all the places where this reflection is either shifted or inexact in some way. Ponder why he would bother doing this. 5. Write a short piece for solo piano using mirroring and a recurring A section with changes. Your piece should include a process, that is, a theme of continuously changing something in the piece by a some fixed amount, linear or exponential. 2. Systems 1-3: A Systems 3-4: B Systems: 4-5: A Systems 5-7: B' Systems 7-8: A System 9-10: B" System: 10-11: C Systems 11-13: A Systems 13-15: D (What's important here is that the A sections sound similar, but the other sections do not show any obvious similarities to considered like sections) 4. Mirror off an eighth note in second and third A. The fourth A section gradually displaces the mirror by eighth note, and changes the intervals of the left hand several times, most noticeably the E natural in the beginning. D uses a separate kind of thrown off mirror system.

Instructor: @Monarcheon Students: max. 10 Expectations: Composers will learn about music from the contemporary/modern period, analyze it deeply, and will write music in this style. This should span over about a month and composition assignments will be used. Week 1: Bartok - form Week 2: Webern - interval set/vectors Week 3: Messiaen - rhythms/time Week 4: Cage - intro to musical philosophy AKA "real theory" Special Notes: This is our first test long-form masterclass... structured to be more like an actual class. It's a test because I don't know how many people will be interested/care. Let me know if you're interested in the comments.

Hi everyone! I am new to this forum, and this is my first topic here. I "composed" this very short Intermezzo, for bigger a bigger work I am planning to write. After assigning the theme first to the strings and next to the winds, I do not know how to continue (I'd like to develop the main theme with some variations, though). I leave the score and the Midi file here. let me know what you think about it and if you've got suggestions on how to continue it, please! Intermezzo (Nenia).mid Intermezzo (Nenia).pdfIntermezzo (Nenia).pdf

I just found this forum and feel that this community is quite friendly for sharing work. I would like to share my work and looking forward for some feedback. The Piano composition is titled: "Farewell", I am about to leave a City where I lived for15 years, and trying to elaborate the feelings through this piece. - Sorry for the recording quality (just using my phone) - There is a little bit off somewhere during the performing, but still hoping the audience can get the idea.

So, I really needed to make at least one metal song after two years! (Yeah, the last metal song I wrote was for 2016). Now, I feel so happy I did this song. I know it's not a good "metal" song, but I share it (and its score) to make my future works better!

Hello, This is my new track.

Thanks Dream Sown!

I think it's a prepared piano, apart from amplified.

This is a Christmas carol for SATB chorus, based on William Shakespeare's poem "Song of the Holly"

Good work OliverKovacs. A mix of classic music instruments & electro sounds in a melodic way! Keep up the good work!!!

@MusicianXX12 are you joining or were just expressing contentment?

3a. The whole step interval (G & A) bounced around the bottom of page two breaks the obvious pattern. Same with the final Piú mosso section. Why would he write it like this? Obviously it's not simply to sound "cool". I find this question quite hard to answer, because I do not think I completely understand the question. Do you mean ''why do the notes look like they look now'' or ''why did Bartók choose these notes to bounce?'' I think you mean the beam of the notes, which go over the bar lines. I think that Bartók wanted an almost 'free rhythmic' passage, because the accents move by altering the beaming. 3b. Do the non-A sections have any relation to themselves? To the A sections? If so, what is it? If not, why would we write it like this? The form reminds me of a French rondo. All non-A sections are contrasting and very recognisable themes. The key of this 'rondo form' is that there is just enough contrast (non-A themes) and just enough repetition (A themes). 4. Ponder why he would bother doing this. One possible reason for inexact mirroring could be that Bartók wanted a certain chord / interval that was not possible with exact mirroring. 5. Write a short piece for solo piano using mirroring and a recurring A section with changes. Your piece should include a process, that is, a theme of continuously changing something in the piece by a some fixed amount, linear or exponential. I have doubts about the accidentals when mirroring. Do I need to keep the visual distance between the notes the same or do I need to adjust the distance so that a Gb can be a F#? I am now writing the piece.