Leaderboard

It sounds very balanced and beautiful. The truth is that in the second part there is a bit of ambiguity in the harmony. The F natural of bar 10 to which @PeterthePapercomPoser refers does not sound bad, although it is true that it follows a line that ends in its tritone and that is an issue to avoid in the melodic design from the cantus firmus (of course all this would be relaxed with time and time). The passage from measure 8 to 9 is strange if it is understood as a modulation from D major to C major. If that modulation were as it is, the F natural would make more sense. But as far as I can see there is no modulation, we are still in G major measures 10 - 11 - 12: Am - D7 - G. Therefore, logic and hearing demand that this F be F#.

This might actually be my best current composition. It is my weirdest piano piece for sure. I built the harmonies and "melodies" from a chromatic superset (3+4+5). I can explain it better if I see interest. It took me around 5 hours to compose this piece and I have to say that it is a true nightmare to learn it and play it without many mistakes. I pray for the people who decide to start learning it hahaha. Some of the jumps are actually scary. The piece has an improvisatory nature like some of my other compositions, but this time it is easier to imagine a horror plot behind it. Also I think there is no official performance version of the work, you can play it very different to the way I played it today. Here you have a performance a friend of mine recorded: I hope you enjoyed it! Let me know if you have any doubt or advice.

This is an atonal piece I composed for halloween, I only use four notes: G#, A, A# and B The piece is in a compressed sonata form, with two themes with two versions each. Halloween piece.pdf Halloween piece.mp3 - Exposition: B 1-20 B 1-2: Exposition of theme 1 ascendent version B 3-4: Exposition of theme 1 descendent version B 5-12: Exposition of theme 2 descendent version B 13-21: Exposition of theme 3 ascendent version -Development: B 21-28 B 21: Development of theme 1 ascendent version B 22-24: Development of theme 2 ascendent version B 25: Development of theme 1 descendent version B 26-28: Development of theme 2 descendent version -Recapitulation: B 29-41 B 29-31: Recapitulation of theme 1 combined version B 31-41: Recapitulation of theme 2 combined version -Coda: B 42-44 The sustain pedal is maintained during the whole piece to give it a spookier muddy sound This was mainly an exercise to compose in sonata form, I would appreciate some feedback

The constant shifting from bright to dark is so nice here, and done with such sophistication. Even with the constant shifts and unexpected harmonies, nothing feels jarring, so it still really works as a berceuse. You are still lulling the baby. I particularly liked the arpeggios in the last few measures. I also liked the smooth transition from the simplicity of two lines, to adding the occasional chord, to three independent lines, back to two lines, but now with thicker harmonies as the piece progresses. Another great piece!

John Cage wrote a piece like that.

Oh! Thank you! Your comment makes me very happy. You are probably right about this double. I add that when I recorded the voice (in re Recording) I did not activate Basson's track. I then realized that there was a small difference in appreciation of tune and rubato between the bassoon (virtual) and my (real) voice. This drift may contribute to a certain discomfort at this time of the piece. I left, telling myself that after all these shifts were relatively frequent in the real life of musicians. But I think your suggestion is excellent: the climb is already present in the right hand of the piano which is a harmonized octave lining. Maybe I could have made a "16 feet" in the left hand, and let the bassoon play a big bass tonic a little textured with apoggiatures with lowered su tonic for example. I think it's too late for me to resume this work. Once the parts are posted, I generally refrain from retouching them, preferring to accept slag and imperfections. It's also the same with all my work and particularly in a vocal piece posted on YT (Autumn twilight). Here it is the sound mixing that does not satisfy me with a piano singing balance that is not worked enough. I have tested several other mixes, and treatments to better melt the whole but I will leave the initial version as it is. Regarding partitions, it's always the same problem... I'm running out of time! But one day maybe... Have a Good day

Very nice! This sounds like a real performance or at least like you played it on a midi keyboard and that way retained some very nice humanization to the rendition. And the 2nd time you repeat the main theme it is a little bit quieter which is a very nice contrast! This has very nice voice leading except for the F natural in measure 10. I think since your destination note in bar 11 is B, an F# in bar 10 would really work much better giving a strong melodic motion of a 4th up instead of a tritone which is an ear-sore to me. I think you were probably trying to borrow from the minor mode but in that case I would have the whole beginning of the B section in the minor mode for that to work but I don't think that that is a particularly good idea for this piece and the character you establish in the A section. If you had a Bb in bars 9, and 11 (and an Eb also in bar 9 to avoid yet another tritone) then the F natural might fit in better, but still an F# might be preferable if you want a strong harmonic resolution from D7 to G minor using the melodic minor scale. Now that I look at the score again it seems like you might have been avoiding the tritone between the C and F# in bar 10, but that is a tritone that happens naturally in the G major scale and is an expected feature of the D7 chord which you are outlining in that measure. I think that tritone would be much less objectionable than the one you have now between the F natural and B. Those are my thoughts. Thanks for sharing!