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Hello there. This is a solo guitar piece I recorded for a video that's being made. The details of it aren't final, but there will be dancing in the woods, and things to that effect. I have this tabbed out, so if there's any interest in seeing that I'll make it look pretty, but otherwise, I hope you enjoy! Oh yeah, it's about a girl 😄

Who could have said I would start to write this kind of pieces? I am very fond of contemporary languages, of course. Now and then, I wrote a piece in what I thought it was a baroque style.... But I was wrong. Some weeks ago I began to study Music from its very beginning: cantus firmus, monophony, primitive polyphony, counterpoint, etc..... ALL of the music we know today comes from those times. Schemata is a big set of harmonic and melodic patterns flourishing in the galant style. However, many of them were born many many years before, and on the other hand, they were going to be present in music forever. So, now I find myself writing Minuets, or short pieces, just to learn these schemata. I love them and I love the endless ways to combine them, and now I really understand what baroque is. But most important, I know this stuff will have a principal role in my future projects whatever language they use. Two short minuet-trio with notated schemata.

This piece is much more varied! I love the left hand melody in bar 5-11! However I find bar 17-20 and 23 quite strange, since it is fulfilling a prefect cadence in the right hand but at the same it's a subtonic chord in left hand. Maybe the chord progression can be more functional. Keep writing!

Thanks Peter! The video will be recorded over the weekend, I've yet to see it or know exactly what it entails. You're right I was a bit hasty in the description. The initial bars were an old idea in my back pocket, and when I got the opportunity to do this I finished the idea. Inspiration came in the form of a recent crush lol. Simple ABA form, just going from D major to B minor and back. The guitar I used was borrowed from the owner of the studio. One day I'll own a $3000 dollar guitar. This was a Taylor 800 series. Added the tab for ya (corrected the change). Thanks again!

This is great! I love that almost country guitar kind of feel that I guess comes from sometimes lingering on the tonic note in the top voice excessively. It's definitely folksy at least. Great performance and recording which you forgot to mention was made in a professional recording studio! You also didn't explain what the purpose of the music is supposed to be and who it was commissioned by! Also - do please post the pdf of the sheet music! Even if it isn't perfect and exactly what you performed here, I'm sure people would be stoked to follow along and analyze all your chords and chromaticism. Thanks for sharing and I'm stoked to see the video when it's finished!

Actually English is the same too! But I get that meaning too🤣

Yes I do recognize these elements you've presented! I was taught this several years ago in that mentioned class and we even did exercises, but I guess that I don't apply them straight-forwardly in this nocturne nor in other pieces (?). Possibly the issue might lie in that I hardly ever tend to analyse my own works in those terms (or any) and thus I don't usually think about that. I probably should, more often at least. It might be good if I did a certain piece trying to apply those concepts one by one or something, consciously. That'd be worth doing. Thank you dude!

Melisma are basically like 16th note runs of material that may or may not be based off your motivic material. I.E. RUNS

All in all, I think this is a good listen. Compositionally, let's see if we can tear apart some good critique for you. Your chief material is really contained within the first bar. Looking at the score, I think that's a safe statement to make. The melody is very reminiscent of Chopin's funeral march -which is an awesome piece. Ironically, you also utilized a melodic device greatly used by Mozart. I like the variation of this material in measures 21-24. I think this is very inventive. I would've taken the idea at 25 and used that via sequencing and counterpoint as a modulatory passage -but I think your treatment works. My only beef is returning to the original source material at bar 29. I'm not sure that gets the intended effect. The modulation at bar 37 -38 sounds (and looks) a bit rough (which I believe is why you went to the scalar passage afterwards to 'clean up the air'.) The return to the opening material works, but I think you missed an opportunity here to inject a new idea into the piece. This would've been an awesome place for a little bit of contrast. However, I think sticking with the original material works -given you don't beat it to death. Ironically, it looks like you attempt the same modulation again -but this time a little bit cleaner. Kudos! I'm definitely starting to get the idea of your love of brevity. I think some development lessons might be a good thing for you. Stating the theme in its entirety works -but the two connected cells are ripe for exploration and development. By bar 63, It become clear that there's not going to be much of that. And that's the story until the end -with the exception of the wonderfully playful passage at m. 91-94. The left hand finally has a little more interesting passage -despite the incessant full statement of the main material. What I'd like to see is a little more thematic exploration. Break the material up and work with it in its parts. You can still apply the melissma (did I spell that correctly?) and add the flourishing touches of arpeggiation and ostinato -while taking the material into new directions. I hope that makes sense? All in all, I think you're moving in the right direction with this -and it was quite an enjoyable work to pick thru. I see a lot of promise in it. Thanks for sharing!

There is no guitar on the track "Ghosts of the Ocean", but I am now seeing that I embedded the wrong link for YouTube (you listened to Ocean's Fang), haha. But to answer to answer your question, no the guitar is the only real instrument on the album and it does kind of stick out like a sore thumb in the mix of virtual instruments. I edited the original post to have the correct links. I agree and think that the end could have been given more time. Again, it's not the song I was intending to be reviewed but "Ocean's Fang" is representative of a sea storm with gentle and stormy waves displayed in the transitions across the song. Thank you for your time and review, it was insightful!