maxunit22

This has got to be one of my favorite pieces that I've seen on this site. I like this a lot! The harmony you use is so interesting. I'm not very familiar with Reich's music, but having seen the comments on this piece, I'll have to check them out. I think I liked the end most of all. I can't get enough of that material in the beginning and it was nice to hear it end on that.

I rarely have extra-musical ideas in mind when I begin a piece. If I'm reminded of something extra-musical in what I've written, I might try and implement whatever extra-musical theme I stumbled upon into the piece.

I see that there are no posts in this topic yet, so I will offer my highschool music theory nerd understanding of it. The iii is more like the I than the V. A lot of people say that iii-I is a retrogression because it's too weak a resolution with the leading tone up to the tonic being the only change. The ii is usually used as a pre-dominant chord. I'm pretty sure iii6 can take you into most predominant chords. I'm not so sure that it can take you into neapolitan chords, though I don't really see why not. I feel like movement slows down when a iii chord is used, especially vi-iii6. My understanding of the mediant chords purpose in traditional harmony is that it acts as an alternate way to go to a pre-dominant chord. Also, it's an easy excuse for a V/vi, and every time I hear one of those I think of Georgia On My Mind (I-V43/vi-vi)

11. This is so cool . I'm at a loss for words right now; so rather than continuing my post speaking gibberish, I'll end it here.

I'm in an AP theory class now and I've heard that it's worth taking. Even if those colleges make you take the class, those credits they give you have got to be nice to have. I'm sure the written part is pretty easy. Simple analysis and such. The ear training takes practice. I think it consists of identifying chords and figured bass, and the soprano and bass parts in a chord progression, and melodic dictation. If you want a decent site to practice ear training, check out this place http://www.teoria.com/exercises/index.htm

I think this is just wonderful. The flute melodies are beautiful. I really dug the bit at 1:20 where the guitar strums on the beats and the flutes have that 'call and return' going on in the melody. I like it a lot as it is, but I could hear it going somewhere new by changing the rhythm up in the guitar accompaniment with some syncopations and maybe exploring some different motion with the flutes. Harmonically, I wouldn't want it to stray too far from the field it's in. Again, I think this is really nice.

I liked this a lot. A quick question about your intentions with the piece after 1:50-2:20, what I took to be the 'climax' of the piece. I really liked your departure from that bit right before 2:20. From there, the way I heard it, it seemed to build into those tone clustery low growls at the very end, which I liked. I thought those sounded like an unresolved, panting, steaming, animosity. Was it your intention to end it with that feeling, or something different?

Hi fellas. I haven't had very much internet access for some time since I first made my introduction here about a month ago. I really liked the criticism I got then, so now that I've got internet access I thought I'd post this wind septet that I've completed. My original intention was for it to be in an impressionist style but, after I'd written the first half, I thought that I could do more than that with it. This is one of my first few attempts at a piece leaning towards modal writing, and the first that I've deemed post-worthy. I wanted it to sound mysterioius and "not of this earth," but I'm not sure that I achieved that feeling. Thoughts of mine while writing it were about some kind of wondrous shift in nature. Erosion, possibly, but not so gradual. Sound file reuploaded as an mp3, courtesy of SergeofArniVillage Wind Septet

Wow! This is really cool, especially that part where it speeds up and shoots into 3/4. This is the resulting sound when a Tim Burton film soundtrack collides with Frank Zappa at light speed.

I wanted it to sound agitated. I didn't want it to be at all static. I wanted it to travel to a lot of different places and I like most of the places it goes, though some I like more than others. I feel that I might not have been thinking of the piece as a whole, when writing it. I could very well have been thinking very in the moment, bar to bar, and I wish my composing ability to mature in that I'd like to maintain a focus and have a better idea of how I want it to sound in it's entirety, after taking a big step backwards and looking at it.

Thank you. Yes I see what you mean. I hear what I write in my head before actually writing it down but sometimes when I write a part, I fail to keep what some of the other voices are doing in mind and as a result,I have to change my original intention with the other voices and make them conform to the tangent I went off on. I'll do my best to keep all that in mind when I'm writing in the future. Thanks

Hi guys. I'm a new member here. My name is Max, I'm 16 years old, and I'm a music theory nerd. I have here a string quartet that I wrote, on which I hope to get criticism so I can improve my writing. Thanks a bunch guys. String Quartet