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GospelPiano12

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About GospelPiano12

  • Birthday 10/04/2003

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  • Gender
    Male
  • Location
    Florida
  • Occupation
    Student
  • Interests
    Composition, music in general
  • Favorite Composers
    L.M Gottschalk, Ricardo Castro, Debussy
  • Instruments Played
    Alto Saxophone, Organ, Piano

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  1. GospelPiano12 started following Orchestation , Arpeggio Etude for Piano , Can somebody give me feedback on this mixed trio? and 3 others
  2. GospelPiano12
    I really enjoyed the energy of the piece and the almost "pulsating" feeling it has in some spots, there is a nice use of a large range on the piano.
  3. GospelPiano12
    I actually really like the way you put this - I completely agree with this. We who have studied theory would be more aware of the inner voices and contrapuntal lines, but to the untrained ear, what sounds good, sounds good. It could be the worst counterpoint you've ever heard, but if it has a "nice" sound, that's enough for them.
  4. GospelPiano12
    Me too! Thanks for your encouragement! Exactly. I had to move on to bigger and better things. I'm already brainstorming some ideas for my next piece. I would love to keep exploring "lush" harmony and chamber ensembles. I was pleasantly surprised by how much I enjoyed writing for this ensemble. Umm b/c it's the BEST lol. I was originally going to start with just the tonic maj7 chord, but I felt like the dominant-suspended harmony just set the tone better for the rest of the piece. I'm open to receiving any feedback that anyone has - I want to keep improving my orchestration, harmony writing, form, etc. basically everything
  5. GospelPiano12
    The sound is very hollow throughout the majority of the piece. Your rhythm is interesting, but in some spots, it feels very random, especially when all 3 instruments are playing different rhythms at the same time—it just sounds jumbled. This may not be the sound you're going for, but try your flute harmonizing in 3rds or 6ths above the trumpet, I do that a lot b/c it keeps a solid interval in the harmony, while also accompanying what's already written for the main instrument.
  6. GospelPiano12
    I like this thought process - I tend to write horizontally and vertically, but a solid line is a solid line lol But that makes sense though, if each "harmonizing" voice is just a solid line that works well against the other voices, then really there's no need to think about chord structure. The harmony will just come from the counterpoint (or the contrapuntal style writing)
  7. GospelPiano12
    Thank you to everyone who gave me feedback - this is the final piece! Program Notes: "Beauty for Ashes" draws inspiration from Isaiah 61:3: "To appoint unto them that mourn in Zion, to give unto them beauty for ashes, the oil of joy for mourning, the garment of praise for the spirit of heaviness; that they might be called trees of righteousness, the planting of the Lord, that He might be glorified." This piece reflects the contrast between sadness and joy, crafted through Louis's signature blend of traditional and modern harmony; inspired by jazz harmony and film scores. The main motif, a 5-measure phrase, ascends with leaps and scalar motion, symbolizing the climb towards joy and redemption. Secondary material navigates unexpected harmonic terrain, briefly shifting to evoke turmoil before returning to the main theme, restored and renewed. Louis uses modern harmony, secondary dominants, and modal mixture, creating a nuanced emotional landscape in which sorrow's depth and hope's radiance intertwine. The piece culminates in a triumphant, cinematic chorale finale, symbolizing hope and victory. Sweeping dynamics converge with moving harmony lines, resolving to a radiant major 7th chord, evoking flourishing "trees of righteousness" – roots deepened by sorrow, branches stretching toward light. Duration: 5:22 Instrumentation: 1 Flute, 1 Bb Clarinet, 2 Violins,1 Viola, 1 Cello
  8. GospelPiano12
    This seems like the perfect forum to ask this question...what chord fits best in mm.55? There's a great opportunity for an emerging, bright sound, but idk what chord works the best.
  9. GospelPiano12
    Oh yeah, I didn't even realize that - my bad I wanted a chorale-sounding finish and I think this really works I also LOVE this part - I have that melody + chord progression in there 2x with alterations
  10. GospelPiano12
    I 100% agree...when I first started writing this piece I wasn't quite sure which direction the structure would go and I was just writing things to fill up space and hopefully get things going. I was aiming for about 4.5- 5 minutes. I think if I take out those sections and work on connecting what I have, I'll be solid. If I may ask, what about the ending sounds unfinished? If you guys couldn't already tell, I'm a big fan of hymns, and stuff like that allows me to throw in little hints of things I like into the piece lol How do I keep it from being so simple?
  11. GospelPiano12
    This is my rough final draft of a piece I've been working on for a string quartet with clarinet and violin. My main thing right now is getting everything connected and refining my harmony. I wrote some sections that are just there and have no relation to the piece. I am also trying to follow my modern-classical-lush sound in the harmony, but I haven't perfected it. If you could please look it over, maybe mark it up, give some harmony/chord progression suggestions, and anything else, I would greatly appreciate it. Some "rules" I've learned for getting that sound - every chord gets a 7th (at least) - trying to always use the full chord - Use functional tonal harmony, and color special moments with chromaticism (iii7 a lot, modeal mixture, and secondary dominants)
  12. GospelPiano12
    I completely agree @PeterthePapercomPoser I hadn't posted it, but this was actually my final notation for the main motif. I would love to get your feedback and guidance as I work towards finishing this piece. I am currently in the process of writing out 7 "variations" or alterations to the melody - inversion, augmentation, diminution, ornamentation, a retrograde, and 2 complimentary, but very different phrases that I can draw from and add to the piece. It's been a while since I learned these concepts in theory, so I would really appreciate a refresher (or a walkthrough) of some of these if anyone doesn't mind helping me out.
  13. GospelPiano12
    Hello all - I am trying to write a composition that follows these guidelines. I have a basic motif already, and I was wondering if anyone had any suggestions on how to proceed. I've never written for this exact ensemble before (2 violins, 1 viola, flute, and clarinet) and I'm aiming for a 3.5-4 minute piece. Are there any formulas that might help, or anything orchestration-related that you might suggest?
  14. GospelPiano12
    Sounds good so far, before I give more feedback, would it be possible for us to get a copy of the score?
  15. GospelPiano12
    I called it that, but a V9 would probably be more accurate since the V/V (scale degree 2) is still in the bass. It just has the 9 on top that does resolve to 8. Great minds think alike lol - glad I'm on the right track. The new harmony part will probably just double the melody at key points in the song, and outline the tenor line. It's not super popular, BUT it is free and I like free lol. I have to edit the file b/c their free version leaves a bunch of text and links and logos that's really annoying and kind of brings down the level of professionalism.
  16. GospelPiano12
    Thank you, that means a lot - I'm not sure if you've seen any of my other pieces posted on this site, but I've come a long way lol. Thank you - are you familiar with the original tune? It pretty much follows a I - V7(unresolved 9-8)/V - ii - V7- I for the main sections. So trying to get some of those chromatic harmonies in was interesting. I think the moving lines helped me get more of those tones in there. Do you think there's any edits I can make to the piece to make it stronger? I changed the ff - p dynamics at the end to mp- pp. I'm also thinking of having a flute and violin double the melody while 2nd violin plays the harmony - OR should I write a new line for the extra violin? It could be a combo line of melody and harmony. Flat.io - I have the free version, so I just had to use my PDF viewer/editor to cover up the logos and extra text.
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