Hurry up!

Based on a simple interval set:  P4 - 2M - 3m

Nice! I like the homophonic part a little more than the exposition, since the beginning really seemed a lot less intuitive switching between counterpoint and Klangfarbenmelodie, very dangerous stuff when dealing with any sort of structured atonality. 

Gotta be honest, this stuff is wayyy over my head.  I think I'd enjoy performing it, though, and it seems as though it could fit into a larger piece with several moments. Let me know if you decide to do something like that, it would be nice to have something like this to practice and keep my skills sharp. 

Love listening to your stuff, sir!

Gustav

9 hours ago, Gustav Johnson said:

Gotta be honest, this stuff is wayyy over my head.  I think I'd enjoy performing it, though, and it seems as though it could fit into a larger piece with several moments. Let me know if you decide to do something like that, it would be nice to have something like this to practice and keep my skills sharp. 

Love listening to your stuff, sir!

Gustav

 

 

Thanks!

Well, you can do what you want with this. Of course.

It's short because it's only an exercise for a course I'm taking on contermporary composition.

In this case, everything is constructed with a set of three intervals: P4 - 2M - 3m

We could say it's a sort of non-dodecaphonic atonality.

I don't know. Anything you want, feel free to email me here or : pistolilla@gmail.com

Greetings!

Hi Luis,

I like it. You do a lot in a short space with a simple idea.

Agreeing with @Monarcheon, I'm having a little trouble with the opening. Is it two separate voices or is it a single pointillist melody? You could help the listener pick up your textural intent by:

a) overlapping the voices a little more in the top system by lengthening notes (if it's two voices)

b) delaying the counterpoint entrance in the Bari until the the triplet figure at the beginning of the second system has run its course (if it's pointilist). Reason for this one is it's really hard to ask the listener to track the counterpoint while they're tracking the the triplet figure.

A few other little things about wind writing:

1. Your glissandi are going to be distinct pitches in rapid succession when played on the sax. They can't slide cleanly in this register. (MIDI playback usually gets this wrong, BTW.)

2. Slurs inside slurs are confusing for wind players.

3. Check with a Sax player to make sure they can actually tounge your 32nd notes. Remember that reed instruments cannot double tounge.

Finally, two notation issues:

1. I don't believe the natural is necessary on the trill signs in Tenor Sax. Those will be whole step trills even when transposed.

2. The upward bends on the half notes in system 7 need to be positioned directly to the right of the note heads, not above.

Thanks. I don't know very well the instrumentos and your comments are welcome.

It's MBASE without the hip-hop or the math.