awayfromlight

Since the relationships between keys is usually an important component of sonata-allegro form, I thought it would be interesting to expand its use to atonal music. Instead of using themes in two closely related keys, I used themes with similar sets of interval classes. My first theme is based on the interval classes 1, 5, and 6 (minor 2nd or major 7th, perfect 4th or 5th, and tritone) while my second theme is based on 1, 5, and 4 (major 3rd or minor 6th). Because they share two interval classes in common, they sound closely related and allow for a smooth "modulation". For my developement section, I fragment and sequence motives from the themes resulting in harmonic intervals extending beyond the interval classes found in either of the themes. This is meant to be analogous to the modulation to more distant keys found in a traditional development section. For my recapitulation, both themes are repeated, but the second theme is "transposed" to the first set of interval classes. This is accomplished by replacing the intervals of a major third with tritones. This is meant to correspond with a standard sonata-allegro movement resolving to the tonic key. Enjoy!

It reminds me a little of the guitar introduction to Question! by System of a Down. It sounds like it has the potential to be an interesting accompaniment to a piece and the tempo seems about right to me.

I like it. Simple but catchy. I wish that it didn't stop at the most interesting part. I would continue with the idea you started on measure 45 and finish the piece off with a highly ornamented repetition of the main theme. Maybe you could even work the trill motive from measure 43 into the keyboard accompaniment. I would also probably change the piano part on measure 26 from parallel octaves to a different interval (maybe a 10th), if not something more consistent with the accompaniment surrounding it. Overall good job.

Thanks.

Hello, This is a piece that I struggled with for about a week and a half before getting so frusterated that I set it aside for over 5 years. While sorting through files on an old hard drive, I ran across it again and felt it's final completion was long overdue. It's a strict 3 part canon with each voice following a measure later and an octave lower. At the time, I remember struggling with modulating, avoiding parallel motion, and keeping the piece from sounding too repetitive. There's something about it that still sounds a little off to me and I was wondering if any of you could shed some light on the matter so that I can finally figure out how to fix it. Also, what canons would be good examples for me to study to get a better idea of how to make this piece work. Thanks for you help! Mark