PeterthePapercomPoser

This is present because I tried to include the harmonic characteristics of both Carol's at once which didn't always result in nice consonances. Thank you for your review!

Here is my first submission!

I have now done this aforementioned mash-up! Thanks for the idea @Bill G! Here it is:

I've taken the Christmas Carol's "Angels we have heard on high" and "Gdy się Chrystus rodzi" (a Polish Christmas Carol which translates as "When Christ is being born"). I wrote two variations on this Polish Carol last year and you can find them here to become more familiar (if you want): There was some confusion in that thread about which Carol I was actually working on (LoL) owing to the fact that both of these Carol's prominently feature the Latin lyrics "Gloria in excelsis Deo". But that was basically the inspiration for putting them together in this mash-up. I painstakingly entered multiple stanzas of the Polish, English and Latin lyrics into the pdf score with all the correct accent marks and whatnot so let me know if it's clear! Thanks for listening and comments, suggestions, critiques or just observations are always welcome! Merry Christmas and I hope you enjoy listening! ☃️

Well, both the Rhythm and Tuning cards pertained to her finding an outside pattern to accord with - so perhaps, in the end she found it?

I am back with yet another Muzoracle casting! This time Celery asked me when she will find true love. The whole casting ended up pertaining to her past so perhaps she may have already found it! (Muzoracle is a storytelling/fortune telling/divination tool similar to the Tarot card deck, but with cards with musical concepts and 12-sided Musician's dice and Solfege dice. Perhaps it may be thought of as a special musical Oracle card deck.) My interpretation of the cards and dice are displayed below. Since castings in the key of F are associated with the Heart Chakra, they accord with the emotional suit of Strings, so I decided to include a Violin and Cello, since Celery also used to play Violin as a kid. Then, in the 2nd position we drew a Perfect 5th of Voices card, so I included prominent open 5th's in the piece and a Soprano singing Celery's question "When will I find true love?" as lyrics. If you'd like to find out more about Muzoracle and how castings are interpreted go here: https://muzoracle.net/ This short musical interpretation of Celery's Casting is about ~1:15 long. Since the black 12-sided Musician's Die landed on F, the piece is in the key of F major. I created the following melodic/harmonic underdrawing guided by the cards and dice. The first solfege die landed on Le, and the second on Ti with a Perfect 5th card in that position allowing me to use the tones Db, E and B natural. In order to smoothly connect to the tonic chord of F major I included the first two positions transposed down a half-step allowing me access to C, Bb, and Eb. The Tuning card gave me the idea of changing the tuning of the piece microtonally. So I decided to bring the tonic chord down a quarter-step momentarily. But all the tones were brought down by a quarter-step, so the intervals used were still your basic 12TET intervals. In order to extend the piece I also transposed the whole pattern up a half step to F# before concluding on a regular F major chord. Also, since I extended the number of positions in the casting to a total of 5 I decided to use 5/8 for the meter of the piece. If you've gotten this far, thanks for reading! And I hope you enjoy listening to this short vocal chamber work I wrote to represent Celery's Casting. Comments, critiques, suggestions, or observations are of course, always welcome. Thanks for listening!

I've noticed that for Christmas music (yes - it's that time of year and I've already written a piece for the season!) I always tend to write in the key of Eb major for some reason. It also happens to be the key of my favorite Beethoven Symphony - No. 3. Perhaps it's because of that symphony that people ordinarily think of that key as "heroic" but I think of it more as a warm key. I also prefer flat keys, even if it causes way more flats in the key signature than is practical. For example - I prefer Ab minor or Eb minor to G# or D# minor. I'll just use the Ab major and Eb major key signatures and write extra accidentals for the notes I need to make it minor. Interesting topic!

Now I don't see any excerpt, just empty space where the notes used to be ... ???

@Monarcheon the excerpt you quoted is in bass clef? Did you quote the wrong thing?

🎄🌲🎄🌲---=== It's time for our annual Christmas Music Event!!! ===--- 🎄🌲🎄🌲 It's that season of the year again and time to write music in your adored wintry (or summery for those in the southern hemisphere), Christmas-y, Hanukkah-y, or Kwanzaa-y style! The only rule is that this is not a competition!!! So please review the pieces casually, only using the competition reviewing template on those who have expressed a desire/interest in having their music reviewed in this way! 🎅 In this event - anything goes! Submit music in the spirit of the holiday season of any duration or instrumentation! There will be badges given out for all the participants, of course! We will also give out "Ardent Reviewer" badges for those who take it upon themselves to review all the participants' music! This thread will double as the submissions thread as well as the event announcement. Please post only links to your music posted elsewhere in the forum (so that it may be properly reviewed in its own dedicated topic). The following members have thus far expressed interest in participating: @PeterthePapercomPoser @Monarcheon @TristanTheTristan The event opens on Black Friday, right after Thanksgiving! And closes on December 31st! Excited to see what we all come up with this year!

I'll just tag @MJFOBOE in this thread. Maybe he might be able to help you..

To me, the whole point of having a pedal tone over some changes is that at some point or another it becomes a non-harmonic tone in relation to the harmony which brings in some nice dissonant color. But your plan of having AbM-EbM/G-Gbmaj9-Dbm works because the G's and Gb's are dissonant with Ab. Now, the only thing that puzzles me is .. why did you take the trouble of modulating to Db minor if you immediately go back to Ab major? I thought you were going to stay in the Db minor key longer to introduce a contrasting theme or something?

I think that's a good plan considering that the Ab note is a chord tone in both Fm and Dbm. But I do hope that during the Ab pedal note, the harmony that smoothly leads you from F to Db includes some dissonances with the Ab.