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Of course: A chord’s mediant is another chord whose root is a third apart (it can be a major or minor third), in this case, a chromatic mediant is mediant chord of the same quality as the original chord (Eg: C - E, C - Eb, C - A, C - Ab. Or: cm - em, cm - ebm, cm - am, cm - abm). However, this is just a simplification (sorry, this is a bit complex). Diatonic mediants (C - em or cm - Ab) share two notes (E and G in the first case and C and Eb in the second case); Chromatic mediante share only one note (Taking the huge list above, in order, the notes are: E, G, E, C, G, Eb, C, Eb) we also have double chromatic mediants, this share no notes, but are still a third away (Eg: C - ebm, C - abm or cm - E, cm - A) So: Diatonic mediants have their roots a third away, have different qualities and share two notes Chromatic mediants have their roots a third away, have the same quality and share one note Double chromatic mediante have their roots a third away, have different qualities and share no notes The uses of chromatic mediants could be to: prolong the tonic or a certain degree of the scale (this could be further explored by employing chromatic mediants a minor third away of minor quality so they can be chromatically altered to form a common tone chord of the first chord (Eg: C - ebm - cdim - C, where c dim is a common tone chord)); to “smoothly” modulate by going from a chord to its chromatic mediant and then twist the harmony even more; to abruptly modulate by resolving a cadence to its chromatic mediant, eliding the tonic (G7 - E, eliding the C in between) or to just come up with a different way to use it that sounds good to you. Chromatic mediants between minor chords sound eerie, chromatic mediants between major chords sound uplifting, but it also depends if they are a minor third apart or a major third apart. Just explore them and use your favourites. If you have survived this soporific music theory lesson, let me give you one more fact about them: playing four chromatic mediants all a minor third apart gives you an octatonic scale and three chromatic mediants a major third apart gives you a hexatonic scale Sorry if this was a bit too long

Hi @veps! Congratulations on getting honorable mention in the competition! To me the piece reminds me of Debussy's Preludes for Piano. The chord voicings and interspersion with stacks of 5ths reminds me a bit of the Engulfed Cathedral. Although there's definitely less parallelism. I think my favorite section is measures 10 - 15 where you overlap the end of one set of 5ths with the beginning of another set of 5ths which is a very neat effect. I also like the ending which I found to be a very inspired way to conclude the piece. Thanks for sharing!

Thanks ... I corrected the notation ... originally those were sextuplets and I wanted a different sound - so I just rested the notes to create triplets .... 😬 As always thanks for the review ... sorry you experienced my composition very differently then I intended. I said, that if someone posted on this thread again - I would post an update. This update has very minor tweaks - with a very slightly reworked ending. All comments always appreciated. Mark PS: As you see this is the 8th revision and the last!

Thank you so much for the advice!

Hello @Moueen Issa! F minor Prelude - it is surprising how much harmonic and chromatic fluidity this has and still manages to make musical sense. Just a notation nitpick - I think if you staccato a note it's okay to leave it as an 8th note instead of notating it as a 16th note which looks really ugly and is harder to read for the pianist. A minor Prelude - this one is also very chromatic and with a fast harmonic rhythm and still manages to make musical sense. It reminds me of the Sonata's of Scarlatti a bit especially towards the end. I have the same notation nitpick for this one as the last prelude, but also - I think to make it clearer where there's legato I think you should tie the first note of the bar to the 2nd staccato note here: (And also keep the staccato notes as 8th notes - that's I think a pretty standard way to show staccato notes. It's redundant and ugly looking and harder to read to also shorten them to 16th's) Thanks for sharing!

Hi @olivercomposer, In b.4, apart from the tritone move of the alto, the alto and tenor are more than octave apart, which is considered a violation of 4 part writing rules since it creates imbalance of register. I think this is absolutely fine to have the leading tone goes to fifth when the soprano covers, since Bach always does this in his chorale for the fullness of the last chord! Henry