Theme for piano 3

Hello all,

I just ended this piece. I was like a month withouth composing because of a travel, but I returned and ended this piece yesterday.

Please your feedback and opiniosn,. Hope you like it.

Hello Ilv, thanks for taking your time listening and providing such detailed feedback. I actually do not agree with all the rules of music regarding which chord to pick (probably I agree with most of them but not all of them), as this could be limiting to sound different or expressive in your own way, but obviously most of the rules have a very important reason. I just write what for my current criteria and taste is good. I have take notes of your proposals. I will try different possibilities in my themes to pick better chords (although if my criteria keeps different even if I try to improve it, I am not sure how to fix this as depends on me, as otherwise I would do something that i dont like very much which would be a a very interesting dilema).

Only 1 question, the insane octaves, are impossible or just of extreme difficult only?. If it is impossible then I need to change that.

Rgds,

Hello Ilv,

I mean, regarding the chord selection I am not sure if this is a must or not (if it is in the scale, it may be OK, as the sensations of what is good or bad may be subjective, I am just talking from that point of view, which doesnt mean that your statements are incorrect). Nonetheless, I actually have analyzed a lot of your points and tried them (not them all), some very good actually (I dont agree with the 100%, but thats may be subjective again). I tested this one for example:

"0:13: a diminished triad sounds quite harsh. I think you are intending an F7 chord in the left hand"

Others are a bit unclear, but I will be developing my argumentations when I have more time. Also, the moment of the 2:27 was changed (better but still not convinced, what a problem in there!), also the unnecesary pause (actually, the pause comes from the previous part, it was a copy paste, but modulated, and the dynamics worked better in the previous notes, so now I adapted it, now those changes are in my Soundcloud). I agree with you, the moment 2:27 wasnt good, actually the repetition was the problem, as I detected something weird, but I imagined that maybe it was the repetition. I still need to invest more time in my themes, as I upload them as soon I conclude them, usually in 1 or 2 days if I have at least 3 hours per day. I need to learn to take my time.

One question: how do you realize which chord is best for one moment?, you just try different possibilities?, or is it only that you need a better earing to determine this?. I mean, as to me the dimnished triad sounded good, and several people who listened the piece said "it is extremely easy to follow and pleasant", so it can be good depending on who is earing. Nonetheless, I agree that most of the people wouldnt notice most of the tools you are using, and no talk about the false relations, some I guess dont even notice them (I used to omit them, now after reading things in this forum, I am learning about it, but the most difficult thing may be to know when they are accepted, as they are accepted in some situations, I guess you need the rules here). The thing is the triad sounded good to me as it was, but never tried F and now after trying it, I like it. I am just wondering how to improve this "chord selection thing" from the academic point of view. This doesnt mean that I will always pick the right chords in the future 100% of the time, as it is always subjetive maybe (I could find an exception maybe because of a good reason), but it would be a really powerful tool of possibilities if there is actually a technique for this.

I think probably most of the composers who have not studied, they make the same mistakes with the cross relations, and I think this sometimes defines to some popular music, thats why it sound a bit darker sometimes, which sometimes could be good, depends maybe. It is a very interesting, and deep topic, but there is no much information available, at least I havent found something really explicative yet, I only know: cross relation is when you create something ambiguous in a mode (two chords, one has a note suggesting another chord mode). Am I right?.

I have to say this, it is crazy how good is your earing, where you can determine all chords only listening and knowing which could be the options.

Ps: have you shared your own music here?. I would love to ear it some day. :)

Thanks mate.