Psique

This is a little suite inspired in the myth of Psique.

El rapto de psique.mp3

Caronte y Psique.mp3

Psico-Fantasía.mp3

El rapto de psique.pdf

Caronte y Psique.pdf

Psico-Fantasía.pdf

Hi @Luis Hernández 🙂

 First i would like to say that all these three musics are more than great! I am a little bit confiused because in this forum i see composers (most of this site, if not all.... i think all 🙂 that makes MUSICS. Even if all of us belong to different kinds (some times yes, other the same) of music.

   I am surfing on bandcamp, on itunes, youtube and unfortunatelly i see "nothing". There are of course many exception, many special songwriters, many composers, musicians and performes/singers but -correct me if i am wrong- unfortunatelly i see that in music industry, are dancers &singers without the special voice, nor the special compositions in musics on songs that  stay with few clothes (men/women) they sing "nothing" and they think that they are artists. Great! Wow... 

From the other side,  i am in this music area, here and -thank God, i see composers who  "swim in the deep waters of music creations". You have done difficult works, and you @Luis Hernández  and the most members i saw here, do well. Some are begginers but they ve got many ideas to create wonderfull pieces.  -i have not see anyone here that has nothing to "give" in the music world-. Importan to say that you (all of you)  reminds me the known classical music composers of the past, that they are well known no names need.

The music world outthere, as you "notice",  has few only things to give in the audience, and thats sad... few days ago i went to see new composers in my place, new singers & i though i would see something special like here and... what i saw?  4-5 almost naked fit girls with no voice sing song with no melodies, just loops. I mean... was that art? where? i dont care about your great body,  nor for your long blonde hair, there is no voice, no music no art. At the end of the show they said thank you and some bad words and they are proud of all their image... thats their "art". Maybe i make mistake, and i am wrong but i am still thinking...

You have nothing to be afraid, all members, you have to give many things in music world, Your art could be fit everywhere, in movies, in documentaries, in songs, of course in the amazing world of video games (not all, thats another big discusion 🙄 ) ...Or else not worry, you could have a great music portfolio in your cv, biographie and you never know... Always hope the best ! For @Luis Hernández & all others special members ! In Greece there are people who listen classic music or soft music, or Hans Zimmer kind music but they are few... Special people hear good music, & more special create music like this! Or like our friend @Luis Hernández  have done! Keep up your Works!

Sorry if i make you tired a little bit.. I have not good music knowelege, i am a minimal 3d artist, so perhaps i am wrong in many of my opinions, but... i believe out of this site, mised the quallity we found here! Go on! 

Always try & hope the best!

-Ampnoe's-

Hi @Ampnoe's  Thanks for your kind words, and also for your interesting point of view.

Let me say that when music is your passion, there are no limits to creativity. I don't consider myself a good composer. I am an amateur, but I love studying harmony, counterpoint, music languages, whatever.... For me, that's a pleasure. Music is not my main occupation, I mean, I am not a musician for a living. Life made me walk by different paths, and music is just my passion. I love writing music, bringing things from nowhere... Perhaps it's an advantage that I do it for my pleasure, because I have not pressure on me....... I have been involved in music all of my life but I took composition "seriously" a few years ago. I am not ready to write for large orchestra, so I stay in the piano, the harp, and small sets of instruments. But that's more than enough to express many things!

I have something clear: the process of learning music,  itself, is wonderful. 

Personally, I feel "Caronte y Psique" to be the strongest of the three pieces. But all three have a really lyrical feeling to them, gently exploring the tonal space. The changes in meter make "Caronte e Psico" and the Fantasía a bit disorienting which may be exactly what you were striving for. The difference between 4/4 and 7/8 is small enough to leave the listener puzzled at what is going on.

However, there is a superfluous change in measure 39, because the meter actually doesn't change. Well, you could renotate m. 40-44 in 6/4 though it wouldn't make things easier for the player.

In the fantasia, the frequent meter changes in the middle section dissolve any feeling of meter (e.g. m 30-34), which is a nice effect; probably, you could notate some parts simply meterless and give the performer more leeway in how to phrase the music.

One thing: You sometimes use double flats and double sharps. While they have their place in notation, I think they can be easily avoided in a freely tonal piece for equally tempered piano by notating their enharmonic equivalent, and thus make life easier for any prospective player.

And, by the way, a nice idea to have a suite based on "Amor and Psyche" as it enables a lot of associations for the various musical phrases.

@Willibald  Thaks for your suggestions.

I'd like, however, to point out that the reason why there are double flats and sharps is because the piece is tonal all the time. Surely is not functional many times, but stays tonal.

I really enjoyed these pieces, especially "Caronte y Psique". You use a really interesting harmonic language. These are obviously not using functional tonality, but it doesn't sound completely atonal either. Could you tell me a little bit about your process in creating these and what, if anything, informed your harmonic decisions? 

49 minutes ago, millert1409 said:

I really enjoyed these pieces, especially "Caronte y Psique". You use a really interesting harmonic language. These are obviously not using functional tonality, but it doesn't sound completely atonal either. Could you tell me a little bit about your process in creating these and what, if anything, informed your harmonic decisions? 

 

 @millert1409 Thanks!

I don't have an exact method for this. In fact, I feel much more comfortable with no classic harmonies.

In the case of "Caronte y Psique", in general terms, it flows between classic tonal parts (the cadences) and other parts where the tonal center doesn't exist at all. Let's say it begins in a chord (Gm) and it ends the phrase in that chord, but in the middle functional progressions aren't used. There are many changes to transient tonal centers going up and down by mediant relationships (most often chromatic), that is to say, by thirds (mayor or minor). It happens in the picture above: Gm - Bbm - Dbm - Fbm..... rising up by minor thirds (that's why I use Fbm and all those double flats; yes I could have used Em instead, but then the mediant relationship is not represented). When I work in this background, many times the chords change just because they flow together well. I think this is how impressionism works, among other things.

If you are interested here you have the score with some notes, and the harmony notated.

Caronte y Psique cifrado notas.pdf