EquillaBeasley

Hello, So, I’ve been experimenting with ways to modernize my classical approach to music. I’ll get into what techniques I used to accomplish this later. I’ll start off with the form of the piece: One piece for piano I love and will likely learn soon is Chopin’s Ballade No 1. I lightly based the form of my own ballade off this one. The beginning and end are in G minor (same for both pieces), but the middle section I chose to make in C# major because of the Tritone relationship between it and G minor. The beginning has an introduction that will lead to the opening theme. From there we get some bombastic octave passages leading into a return of the theme. At the end of the return, we start modulating chromatically and growing quiet until the piece suddenly bursts into a coda that ends on a Tritone and the C# section begins. The middle section is very classical and lyrical, but as it progresses it gets more modern and dissonant. Near the end, we return to g minor and transition back to the main theme. Then we have one last great coda until the soft end. The techniques I use: -chromatic modulation -modulation based upon physically close keys -chromatic scales -whole tone scale -a lot of pedal -m2nds, M9ths -Sudden pauses Im trying to find the balance between these as they’re the techniques I currently like to play with. *No sheet music yet because I have not gotten a change to transcribe audio. *sorry for bad quality of audio. https://drive.google.com/file/d/1yov_wpfmD-jMqJsn61l_r6V1hjN9utOC/view?usp=drivesdk

Absolutely beautiful. It’s rare for me to listen to new works until the end, but yours was an exception. as a pianist, though, I would suggest in measures 73 and 74 to renotate those high intervals using 8va instead of writing out their exact place. It can be done, but any pianist would be happier if you put it at a more legible height. Besides that, still amazing.

Hello, Recently I created a set of variations for a competition held by the YouTube channel TwoSetViolin. I had to write 11 variations for two violins and piano , each for a different composer or genre. I believe it turned out well, but I should note I only had a week to create it, and each variation had to be at least 20 seconds long. Despite this, it should be a pleasant and thrilling listen. *Headphone warning- loud artificial harmonics in recording Variations: 1. Bach 2. Mozart 3. Beethoven 4. Brahms 5. Debussy 6. Paganini 7. Shostakovich 8. Myself 9. Film 10. Jazz 11. Pop Recording: https://www.dropbox.com/s/2z5f1xcxxbo0idm/TwoSet Variations-EB.mp3?dl=0 Score: https://www.dropbox.com/s/bkckvo0qhbobb60/TwoSet Variations-EB.pdf?dl=0

Possibly, but I think that to create more feeling in your piece, you can simply mess with the tempo. Adding too much will make it too clogged and hard to engage with.

Yes, the timpani can change it’s pitch, however it takes time and must be notated that a certain drum has to change pitch. The time to change pitch, on average, is 4 measures in moderate time. If you want them to use the pedal during playing and not during rest, mark the change in pitch as a glissando.

It sounds nice, but I do ask “why is their no English Horn?” You have the woodwinds in threes but you left off the English Horn. also, make sure you are careful of the Timpani. I see you use five different notes for the timpani in the first three measures. There’s only four drums for a standard Timpani, and each drum has a specific range. I think you should read up on the timpani. Also, use less of it. It’s effect as an accent in the piece is overused.

I believe you’re looking at the a minor section with the wrong idea. It’s not supposed to be sad. It’s supposed to be lyrical, thoughtful, and bring out the deep emotions and thoughts within people. If I wanted to make a dirge, I would make one. Besides that, the analysis is quite accurate, so thank you.

No, focus on more on what you hear than the theory. You're stuck too much in the rules and that's limiting your potential. Listen to the piece and then follow your intuition of what sounds good to you. Don't let theory define all of your actions.

This piece focuses too much on music theory. I here a lot of scales, a lot of Alberti bass, and many other music theory based things, but I don't hear YOU. All I'm hearing is different things you pulled from music theory. I don't hear the piece going anywhere, and it feels lost in what it wants to be. What do you want from this piece, first of all? Find that out first and this sonata will be much better. I don't see a theme, a consistent idea, or any direction. I think you need to focus on what you want from this piece. If you want to simply make a dedication to Mozart, he had Motives. Sonata K545 has a short motif that it begins with and then builds from. You start with Ode to Joy and then turn into scales. Build up your ideas more, and then you should be able to hear what you want from this piece. Right now, I'm not hearing YOU.

I'm not well versed in Toccatta writing, but I've been wanting to make one as well. As I understand it, it is a balance of runs and then cadences where the music rests. I say pick a key, create some runs that you like, and then have it cadence, but then build off that until it can reach its grand finale.

The piece begins with a cadenza and then transform into a beautiful piece about the line between life and death. You should hear the voices of past people as this piece grows. There's much more I have to add to this, but for a start, I'm happy with it.

I love the feel of this; it’s very accurate to your description. Try to Add more intensity by increasing the tempo eventually in the track. The dissonance is good, but I want to hear the horses struggle to gallop through the mighty feet of snow!

This is a violin and piano accompanist piece that is made to depicted snowfall and anything related to snowflakes. You should be able to hear this and enjoy the piece too.

I really like it. I think the transition from the C# major section to the C# minor section was too abrupt, though. You could insert a few measures there where you add a cadence with a Picardy third to move from major to minor, or have a pause there with only the damper pedal still held. Those are some ideas I would use, but really anything works.