Apparitions of the Sleeping Beauty (Modal Work for Solo Piano)

Looking for feedback on form, development, and overall cohesiveness. The labeling of various modes and other features is due to this being a project in Music Theory class at my university.

Hi again JW. When dealing with exercises, I am not too sure of what specific feedback would serve you. Specially, structurally speaking, in case there are conscious choices made by the composer in that regard, my feedback may be contrary to what you want to do or what the people reviewing the project would expect your work to be.

What I listen is cohesive enough to me (transitions between phrases aren't unjustifiably abrupt or random), structurally clear (with some non-directional digression more than grand development; a wise choice I believe) and subjectively speaking it has many moments which I liked, melodically and sub-structurally. The melodic line appearing various times in the lower voice (Measures 1-2) and the smooth increase of tension from M32 to M36 (increasing the density of the music by adding a new voice on each bar) are two of those examples.

The ending was really satisfying. Simple and effective. Sorry I couldn't be of anymore help.

Kind regards,
Daniel–Ømicrón.
 

I quite like the atmosphere it creates. I especially enjoyed the central section where it built in tension. I don't know what the exercise specified or what constraints or goals may have been set, but imo I didn't think that a reprise of the earlier material toward the end was the most effective decision. I personally feel that continuing going in new directions with the established texture would have worked better. But that's just what I felt, and again, I have no idea what the exercise was for.

I think the point, as has been discussed, is that an exercise is not the same as a "composition".  Here there is a certain diversity of different styles that are approached without transition.

But I am more struck by a question that, I think, happens to many of us. And that is that these modal harmonies should not necessarily sound classical or "old". The good thing is to apply them to sonorities that are modern. And difficult.