Enrico

Hello! I recently got obsessed with this prelude by scriabin: So I composed a piece trying to work with those same sweet dissonances. It sounds ok to me, but I got some backlash because of it's sonority, so I thought maybe my treatment of suspensions and dissonances here was very poorly done. I would love to hear how it sounds for you guys! Thanks in advance for your attention.

Firstly, I greatly admire your knowledge of contrapuntal writing, you have a incredible ear for polyphonic lines, specially the rhythm the multiple lines create together (getting this balance right is quite hard, I know very well). What I would certainly suggest to you in order to make these sound even better, is to let some voices breath, and be silent for some measures. After a cadence, and maybe during a sequence, drop out one of the voices, let only two voices go for a bit before introducing a reinstatement of the main subject. Use the driving force of the heavy 4 or 3 part texture as a climax device. Right now, even though you used different techniques to reach this goal, I feel there is too much intensity throughout it that ends up making the piece sound quite homogeneous. I really like your counterpoint, I hope I can eventually fugues like this one in the future. Thank you for posting, I am quite obsessed with counterpoint and it's great listening to people keeping the form alive.

Thanks ! It is a mistake, hahahahahaha, I don't know why but when reading music my brain loves to see that G note in the bass cleff as A for some reason. Thanks for pointing it out. Yeah, I mean like those, they are all over, since the very first measure there are parallels in the last beat. I usually trust my ear for these things (and I think it's ok since I made sure the fundamental skeleton of the counterpoint checks out), but I like to hear other peoples informed opinion about it because I don't know any musicians in real life. Thanks!! I will post more, I really want to participate more in music communities, so far I have been studying music for years without engaging with other musicians. I hope I can contribute with something someday.

Hello! Here is an invention like piece I just finished composing, would love to hear some feedback. ps. I noticed there are parallel fifths between the subject and the counter subject I hope they are not very noticeable.

Hey thank you very much for your thouthful comment, I just reviewed what you said about measure 16 and what you said totally makes sense. I am trying something quite new to me in this piece with these diminished harmonies I still don't totally get how to lead and resolve their counterpoints. Like you said there is a lot of sharp/flat mixing it gets really confusing and I end up just botching it up xD It's weird about the voice leading thing, a very seemingly wise counterpoint person told me I had this problem, I am self taught and at this point that I started uploading my pieces it is vital for me to get any kind of feedback so I wanted to inquire further about this. A point he made was about measure 3 for example: is it really bad for G to jump up to C instead of resolving to F in this context? I thought it was justified with the G - F movement already being resolved by the left hand. Also as G - C being a fourth skip is not an all that jarring of a movement is it? Again, thanks a lot for taking your time to listen and write about it !

Hello, I have composed this piece and would like some feedback on my writing. https://youtu.be/l9lZo2tQJfY I have posted it online elsewhere and received the criticism of it lacking in voice independence, like the lines are missing the cantabile quality of counterpoint. Please listen with this in mind if possible, any comments about it are welcome as well as tips on how I can improve this. Thanks for your attention.