Forewarning

Today I bring you a new duet for violin and piano! I'm pretty proud of how this one turned out, I might actually start taking composition classes now.

I know this needs some editing work, so beart with me! It's fresh out of the oven.

https://musescore.com/user/12518851/scores/3296651

This is great!  Way to go, you!  You should definitely start taking some composition classes.  If you're already managing to get this far on your own I think you'll get a lot out of them.  

My one comment here is that the piano is always playing second fiddle to the violin.  (Haha.)  The piece totally works.  You explore a variety of melodic and harmonic ground, and the piece always feels like it's moving forward.  It develops well, and the decisions you've made make for very playable parts for both instruments.  But the two instruments never really trade roles as leader and follower.  It seems like a shame not to explore the possibilities that that opens up, and to contrast the different things that they do well as solo instruments.  And it could be a way to add a second movement to this if you want to keep going... using similar melodic and harmonic language, but flipping the texture on its head...  You could experiment with the two instruments trading solos:  piano solo for a few bars, violin solo responds, piano solo responds to that, violin solo responds to that.  You can also just give a melody more obviously to the piano for a while, and use the violin to add harmony in what is more obviously a supporting role.  

This is great!

Comments about instrumentation and orchestration line up with pateceramics so I'll leave that.

However, the two biggest fundamental issues here are resolving tendency tones and non harmonic tones. There's a lot of Db in this, and the diminished tendency tone rule begs for the diminished fifth to resolve downwards, and it really doesn't do that that much in this piece and ends up sounding awkward. Non harmonic tones such as passing tones and appoggiaturas in this case specifically clash when you're not careful (i.e. 9-12). Melodies can expand but let things flow naturally.

Classes are a bit dubious to me personally but a tutor or teacher never is. Good luck!

18 hours ago, pateceramics said:

This is great!  Way to go, you!  You should definitely start taking some composition classes.  If you're already managing to get this far on your own I think you'll get a lot out of them.  

My one comment here is that the piano is always playing second fiddle to the violin.  (Haha.)  The piece totally works.  You explore a variety of melodic and harmonic ground, and the piece always feels like it's moving forward.  It develops well, and the decisions you've made make for very playable parts for both instruments.  But the two instruments never really trade roles as leader and follower.  It seems like a shame not to explore the possibilities that that opens up, and to contrast the different things that they do well as solo instruments.  And it could be a way to add a second movement to this if you want to keep going... using similar melodic and harmonic language, but flipping the texture on its head...  You could experiment with the two instruments trading solos:  piano solo for a few bars, violin solo responds, piano solo responds to that, violin solo responds to that.  You can also just give a melody more obviously to the piano for a while, and use the violin to add harmony in what is more obviously a supporting role.  

This is great!

 

Thank you! I dunno if it can be heard through the MIDI but the piano has small parts where it leads, but I'll take your comment into account! I got kinda inspired by Beethoven's 4th violin and piano sonata where he indulges in this game of trading lead roles, but alas, I gave the piano repeating themes to make it all sound more cohesive- Thank you very much!

2 hours ago, Monarcheon said:

Comments about instrumentation and orchestration line up with pateceramics so I'll leave that.

However, the two biggest fundamental issues here are resolving tendency tones and non harmonic tones. There's a lot of Db in this, and the diminished tendency tone rule begs for the diminished fifth to resolve downwards, and it really doesn't do that that much in this piece and ends up sounding awkward. Non harmonic tones such as passing tones and appoggiaturas in this case specifically clash when you're not careful (i.e. 9-12). Melodies can expand but let things flow naturally.

Classes are a bit dubious to me personally but a tutor or teacher never is. Good luck!

 

I'll the the resolutions, thank you very much. My classes will precisely be with a tutor in his own study. He's a local composer that recently left the local music university. He charges a lot though (500 pesos an hour, which is around 25 bucks per hour; it may not be too much for U.S.A. people but here that's a lot of money!), so I'll only be visiting him once a month.

Love it! And the title is very fitting to the mood created. I think that I like that there was a lack of consistent resolution, a warning should leave a person somewhat on edge or un-resolved. I would be intrigued it you were to take the suggestion from Alfredo and have the piano and violin trade places at least once if not twice.