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Thread: My experimental pieces and so forth thread

  1. #91
    Senior Member Phil loves classical's Avatar
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    Here is a new piece for piano, by far my most technically demanding. Tweaked it a bit for better flow.




    I also tweaked further my Neo-Baroque Serenade, which is my personal favourite piece of mine.

    Last edited by Phil loves classical; Jun-24-2018 at 02:19.
    "Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not.“ Mozart

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  3. #92
    shirime
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    Study in Modern has a very early Messiaen feel to it, with a bit of Debussy etudes and a dash of Bartok thrown in. Have these composers influenced you in any way?

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    Senior Member Phil loves classical's Avatar
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    Quote Originally Posted by shirime View Post
    Study in Modern has a very early Messiaen feel to it, with a bit of Debussy etudes and a dash of Bartok thrown in. Have these composers influenced you in any way?
    Bartok for sure. I didn't listen too much of Messiaen (only his best known 2 pieces). Debussy, a little
    "Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not.“ Mozart

  6. #94
    shirime
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    Quote Originally Posted by Phil loves classical View Post
    Bartok for sure. I didn't listen too much of Messiaen (only his best known 2 pieces). Debussy, a little
    Nice!

    I will return to you a question that you asked me over on my thread: how did you come up with the pitches and rhythms?

  7. #95
    Senior Member Phil loves classical's Avatar
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    Quote Originally Posted by shirime View Post
    Nice!

    I will return to you a question that you asked me over on my thread: how did you come up with the pitches and rhythms?
    Certain intervals like tritone, minor seconds, major 7ths, and other ones along the way for chromatic melody which is sometimes parallel motion and sometimes opposite motion between the voices. The rhythms are purely "intuitive" as you called it, based on just from listening to a lot of modern classical and jazz music, and just what I feel with certain accents and syncopation.
    "Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not.“ Mozart

  8. #96
    shirime
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    Quote Originally Posted by Phil loves classical View Post
    Certain intervals like tritone, minor seconds, major 7ths, and other ones along the way for chromatic melody which is sometimes parallel motion and sometimes opposite motion between the voices. The rhythms are purely "intuitive" as you called it, based on just from listening to a lot of modern classical and jazz music, and just what I feel with certain accents and syncopation.
    That makes sense. I also like to do this with intervals, although offsetting consonant intervals by dissonant ones also has a remarkable affect.

  9. #97
    Senior Member Captainnumber36's Avatar
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    Quote Originally Posted by Phil loves classical View Post
    Here is a new piece for piano, by far my most technically demanding. Tweaked it a bit for better flow.




    I also tweaked further my Neo-Baroque Serenade, which is my personal favourite piece of mine.


    I love Van Gough, I'll listen to the music in a bit!

  10. #98
    Senior Member Captainnumber36's Avatar
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    Quote Originally Posted by Phil loves classical View Post
    Here is a new piece for piano, by far my most technically demanding. Tweaked it a bit for better flow.




    I also tweaked further my Neo-Baroque Serenade, which is my personal favourite piece of mine.

    I think it's more the software than anything and how you used it for these pieces, but something about the way they sound feels uncharacteristically artificial compared to your other works. This made it difficult to listen to and appreciate.

  11. #99
    Senior Member Phil loves classical's Avatar
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    Yes, real performance can change perception a lot for some music. But you're right that there is a difference in more than just performance. With these pieces I took a more measured approach to changes, and is more technical, which compared to my other stuff may sound less genuine. Usually I just jump right into parts, and revel in the gut, with less preparation (Figmentation is the epitome of this approach for me), while here it is more slowly developed over time, and involves more form.
    Last edited by Phil loves classical; Jun-26-2018 at 00:09.
    "Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not.“ Mozart

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  13. #100
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    I may add Study in Modern to the program of my next performance. Could you perhaps send me the score?

  14. #101
    Senior Member Phil loves classical's Avatar
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    Quote Originally Posted by E Cristobal Poveda View Post
    I may add Study in Modern to the program of my next performance. Could you perhaps send me the score?
    I'll PM you........
    "Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not.“ Mozart

  15. #102
    Senior Member Phil loves classical's Avatar
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    Here is my new short piano piece. I tried to proof-listen a bit more before posting, which I think I didn't do enough before.
    It has my trademark chromatic harmony, but I also injected a lot of consonance, and hopefully some imagery.

    Last edited by Phil loves classical; Jul-07-2018 at 22:55.
    "Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not.“ Mozart

  16. #103
    Senior Member Fredx2098's Avatar
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    Quote Originally Posted by Phil loves classical View Post
    Here is my new short piano piece. I tried to proof-listen a bit more before posting, which I think I didn't do enough before.
    It has my trademark chromatic harmony, but I also injected a lot of consonance, and hopefully some imagery.

    I like that a lot. Is it in a key? To me it sounds like it shifts keys a few times, but I could be totally wrong. I love the chromaticism. I think it would be cool to hear this piece extended, and I think there could be a build-up to a more impressive ending.

  17. #104
    Senior Member Phil loves classical's Avatar
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    Quote Originally Posted by Fredx2098 View Post
    I like that a lot. Is it in a key? To me it sounds like it shifts keys a few times, but I could be totally wrong. I love the chromaticism. I think it would be cool to hear this piece extended, and I think there could be a build-up to a more impressive ending.
    Thanks Fred. It is in a different key at the beginning and end. The middle parts are more chromatic shifts and stuff. Revisiting I felt some harmonies were off so I tweaked them.

    "Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not.“ Mozart

  18. #105
    shirime
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    It sounds like you've got something modal or polymodal going on here with more and more chromatic alterations moving it to different quasi-diatonic areas. Would I be correct in my assumption that this is what you are doing?

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