Elvazur

Here goes the updated version :)

Monarcheon, thanks for the comment! I'm having a hard time understanding what you say about the clash between dominant chord and the subtonic though. Actually, the only note I know by heart is the C, so I had to make a quick drawing to deduct the chords you were talking about... Yeah my knowledge is that basic. SebastianViola, thank you for your feedback, it's very insightful! I get every comment you made, all suggestions make lots of sense. Actually, I felt there was something wrong with the cello but couldn't tell what. You made that all clear :) I'm almost finished editing it, I'll be posting an updated version soon. Nizar

Hi guys, I'm the self taught musician from this previous post : I just worked on this new composition - and I got also inspired by some of your feedback from that previous post. As I have no theoretical knowledge whatsoever about composition and learned playing by ear, I try to follow your comments that get quickly technical for me sometimes :) Your feedback would be highly appreciated! Nizar

Luderart, thanks a lot for your feedback and comments! I'll think about what you said concerning the creation of my own style ;) Kimoworld, I realize that I probably got carried away and extended the composition a bit too much :) I guess I wanted to incarnate the title in this "repetitiveness". Thanks for the feedback!

Hi Monarcheon and Ken, thanks a lot for your feedback! Monarcheon, I tried to figure out what you meant in everything you just said in your critique. Like I had to go watch videos explaining what "voice leading", "chord progression" and "borrowed chords" are... I guess one reason why there aren't complex chord progressions, etc. is that I kinda trap myself thinking I have to stick to the "theme" in order to stay coherent (plus, as the title says, it's about someone who will "remain", which suggests some repetition in my own interpretation). But for avoiding being boring, I go through these variations - although they have the same progressions. So I'm asking myself this question: how do I get out of this "stationary" feeling, and still keeping a global coherence (without changing chord progressions or adding different borrowed chords every minute). Do you think some examples would help me? Also, just genuinely trying to understand this point, I don't hear any borrowed chords or complex chord progressions in Ludovico Einaudi's piece "Walk" for instance. And it doesn't have that much variations. It's a very simple composition, but I truly love it. Sometimes less is more? I'm a bit confused about this issue to be honest. I understand your comment about the voice leading and I'm taking good notes :) The end chord is a story of its own, almost like a "private joke". So it's willingly provoking. It's good to have your feedback about it though, even if it's negative :) Ken, Damn I thought I had to stick to the tonic key haha (by the way I had to google it to understand...). Great suggestion for the transpose. I actually used it on other compositions, but I'll keep it in mind for future inspiration. Now that you say it, indeed my left hand needs some work! Thanks again :)

Hi everyone, first post here. I'm Nizar, I learned to play piano (on a synthesizer) empirically and only by ear through the years. I never took a lesson nor studied anything related to music or composition, so I'm quite ignorant about many aspects. However, I really enjoy the act of creation in music. I never thought of entering a composers' forum, so here I am. I'm extremely curious to get your feedback, it will be much appreciated, starting with this piece : Thank you! Nizar PS : I use Reaper and Kontakt for recording, as Virtual Instruments are 100x better and more realistic than my synthesizer. PS2 : I just bought a Kawai "stage piano" (ES8) last weekend, so the experience of playing is radically different and my inspiration is sky-rocketing :)