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I hope you don't mind but I took a closer look at the beginning of your piece, which I really like btw, and I jotted down an alternative that's perhaps more in style. I then improvised a little at the end to round it off. I play at a slower speed than you intended for your piece but it would work at either pace.

yeah I hear that too....you know, I should probably finish that at some point. Maybe once I move and will have no friends I'll have the time haha I felt that way too. Thanks for sharing your thoughts Peter, I always like to hear what you have to say. only the chosen few get to use that font Glad you liked the end, it was the only time I changed what mystic chord I was on. Thanks Luder, I was inspired by the forms you use. I don't know how often I'll be writing undeveloped music, but this one felt right to end the way it did, and I was like, "I think I just wrote a soliloquy." Thanks guys!

do not compose your pieces, let them compose you

Thanks to @PeterthePapercomPoser and @luderart for the ideas in this. It was my first dabble at using the mystic chord and a #4b7 mode, as well as trying out a short undeveloped form. I like the result, and hope you do to.

This is a piece where I experimented with romantic (or perhaps beyond romantic) harmonies. I was going to have a second movement but the materials were too disjointed and was abandoned so now I decided one is enough here. The opening theme is clearly copied inspired by "L'Apprenti sorcier". Again not likely I will ever expand this piece anymore, but good experience nevertheless.

Here it is, as short as possible to say something.

Hi Luis. Wonderful piece, as always. These, and others, demonstrate (in my opinion) that you very well know how to mould, blend, and essentially work with otherwise small and simple motives, turning them into part of something very personal and charismatic. This work is very substantial yet brief and arguably simple, and thus reminds me again of a composer of another website that is also an expert on saying much with just the precise amount of material, neither more nor less. To me, it is always a pleasure to listen to your works, and yeah I know this feedback may be of little value and that I might be repeating myself but it is the truth. If I have to say something, as negligible as it may be, I would tell you that the end might have convinced me more if the penultimate bar had begun with a rit. and the very last note had been an E instead of an A. Many thanks for sharing. Kind regards, Daniel–Ømicrón.

Sure you can change pedals every two or three bars, but it depends on how many and whether they would be with the same foot. Yes, the harp is complex to write and you have to get it out of your head that piano parts can just be extrapolated. The piece, in general, is very nice and seems well written. I think there is some "conflict" in the low range at some point (like 00:25 the first time) between the cello and the harp, but you would have to see the score.

This makes me sad. Everything you post is short, like you prefer quantity over quality. I'll be honest, I put your other account on my ignore list because it seemed like you were insistent on posting so many undeveloped one page pieces, sometimes even with multiple pieces per post so you could continue sharing every single thing you've ever written when you were told not to flood the forums with so much music. You didn't seem to take into consideration much of the advice I or others offered so I gave up. But maybe you've grown and changed, and it sounds like you're improving with this piece! You did somethings I really like in this one, and hopefully my thoughts are something you'd consider this time. For instance, I really like the A7 in bar 12, it's an interesting change from your i-V movements. I enjoyed the D to G movements, then hearing the Fm chord take us back to Cm. I also dug the rhythmic motif with the quarter note triplets. One thing I would have done to expand upon that is to imitate the motif in different chords like you did, but then you could keep the triplets going. It was cool, I just wanted more. I'm curious, when you write music, do you see these as exercises to get better, or is there some bigger goal in your compositions? There's no right or wrong, I just curious. It sounds like you're continuing to try new ideas and compositional devices out in your music, which is good, so hopefully you're learning a lot as you go. I gave up on you, but this one shows promise. I REALLY encourage you to try out a longer established form, as 1 minute pieces will only take your learning so far. Try a rondo, or a simple ternary form. Work your way up to perhaps a sonata-allegro or impromptu. Keep up the good work man. Honestly I probably won't comment on anymore of your shorter pieces, but would for sure offer all the advice and support I could muster for your attempts and longer forms. Thanks for sharing.

Thanks for listening, Peter! I really learn many new things from the feedbacks you give. I actually have not written for harp before but I am aware that a harpist needs to change pedals during modal interchange. In the beginning of the piece, the melody only hovers around the lydian mode. But during the 2nd section, the melody modulates quite a bit. Do you think a harpist is able to change pedals every 2-3 bars or so during the second section?

If I remember correctly, I already loved the piano version of this piece and I love this version also! I think the odd meter of the piece sometimes can confuse the listener especially when hearing it without a score. Because there's an odd number of beats per measure it can sometimes surprise the listener when there's two strong beats next to each other (because the 5/4 meter masquerades as 4/4 for the first 4 beats sometimes and then there's an extra beat it gets accidentally perceived as beat 1 - although don't quote me on that - I'll be really glad to look at the score once you finish the engraving to verify where this is happening). Also, another reason I'd like to see the score is to make sure that the harp part is playable. Have you written for harp before? This piece is pretty modal which isn't a problem in itself, but if the mode changes often or if there's alot of chromaticism it can be difficult for the harp to change their pedals quickly enough. I think your instrument choices are really beautiful however. I love the color combinations in this piece. I'd describe all the instruments as relatively "cool" in tone color which blends well! Thanks for sharing!

Thank you so much for sharing such a heartfelt feedback! I do appreciate your criticisms and I think they are valid. A fast and dissonant mid section would have worked really well. I use musescore 4 with spitfire labs vst. The editing is actually pretty simple... I just remove the white background from my score and overlay it over paintings. Thank you again for taking the time to listen and comment!

Nice! You have succeeded in creating a great and mysterious atmosphere, in a short piece. I guess that you have been influenced by my idea of the "sententia". I hope to hear more short pieces!

I would be delighted to master class on classical forms: I own both of those books (E book version); Allow me to read them thoroughly and prepare the master class. Also, it might have for those who are interested in this to know common practice harmony: cadences, tonal voice leading, counterpoint. For they could come up in a lesson. If you need a recommendation on books on those topics, ask me or anyone here. 🙂

Hey Vince, I seldom love a very short piece, but for me the brevity here creates a great suspense! The chords, rendition, even the gothic style font is a great combination. Again I like your quartal harmony here, this time it's more mysterious. You have development in this piece with wider register covered gradually. Great dissonant ending at the end! Thanks for sharing and waiting for your last installment! Henry

Wow! You've really packed a lot of mystery into the 39 seconds of this piece! I love the mystic vibes! I think it sounds like something out of Chrono Trigger - like when you can't open a black box passed down through generations or can't open a sealed door. I love your use of the acoustic scale and how well that jives with the mystic chord. It leaves quite a unique sense of incompleteness or like the whole thing is a mysterious unanswered question. Very cool and I'm looking forward to the final installment!

What an interesting idea. The result has that sort of "Familiar, but Unfamiliar" feel - the scaffolding imposes a lovely unifying feel to the proceedings.