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My experimental pieces and so forth thread

124K views 483 replies 27 participants last post by  Phil Classical Purist 
#1 ·
Rather than a new thread for each little ditty, I will post all my stuff here from now on.

Here is a completely aleatoric piece atonally, where I used a random generator for the 12 tones for each row, non-repeating. But I set the rhythm manually, and the harmony is dictated by position within the randomly generated rows. The goal is to recreate the sounds of birds in the forest.

 
#299 · (Edited)
Ever try writing or playing music just from your stream of consciousness? The study in All-Interval Chords seemed to open it up for me.

Here is a piece, in the form of a canon, which follows some counterpoint rules loosely, but mainly from a weird innate sense. It seems I favour 2nds and 7ths. It's funny to edit a stream-of-consciousness piece, but I took out the tempo changes (was a real bad idea), and fixed a few more errant pitches, and it became a lot more coherent. The beginning even reminds me of Sheherezade.



Also an update on this. Added a faster variation.

 
#300 · (Edited)
Check this out. I think what I intuitively was aiming at was some kind of chromatic displacement similar to Prokofiev's music. I revamped it, and added a section in the middle, though I doubt it is finished. There is clearly a harmonic system (or more like technique) at work (at least to my ears). In this version I actually did displace the 2nd voice imitation by a Minor Second, not only within the lines. So some notes are somewhat twice removed chromatically.

 
#302 · (Edited)
I felt I should post an update, even if you're sick of hearing a short piece like this reiterated several times. I took mental notes so I can streamline the process in the future. The harmony is a lot more precise now, but I can't say clearer. It has weak tonality, and does not linger on any key. My ultimate ear teaser so far.

 
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#303 ·
No, not another iteration of the Canon, but wouldn't have been surprising. Here is a piece I worked on last couple days. I thought of writing something longer, but if it works as a shorter piece I'd always opt for it. Pretty sure it's performable, although beyond my limited technique.

 
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#304 ·
Perfected these 2. They're what i tried to achieve in a lot of my other music: mostly through-writing, unconventional functional harmony, form. The etude sound file shows the limitation of Musescore in not being able ot differentiate different dynamics in different voices at the same time in the first part.



 
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#307 · (Edited)
Check out this sucker. I wrote it within the last 24 hours. I think I'm becoming more efficient, using my latest technique. I'm thinking this should be the 3rd movement, with a slower or very fast movement in the middle.



Also updated this. Works better with strong diatonic implications.

 
#308 ·
Check out this piece. They both were derived (very loosely) from the so-called Sonatina, but I think they are better as stand-alone pieces.



Polished this one up. Probably the most harmonic development in any of my pieces regardless of length.

 
#309 ·
This is like of your Etude, but as for me Etude more interesting )))

My friend, I trying to advice your, I am not sure it will be polite (english is not my native). But your should ply life piano
Improvisation will help you to catch something very interesting. It is magic
Also (I do not like to Shnitke) Snitke told that music is dead in notes.
Also I would like to propose, If you have desire we would talk in real (skype viber anything). I hope, I more tenacious speaker than writer. I am sorry.
 
#311 · (Edited)
This is like of your Etude, but as for me Etude more interesting )))

My friend, I trying to advice your, I am not sure it will be polite (english is not my native). But your should ply life piano
Improvisation will help you to catch something very interesting. It is magic
Also (I do not like to Shnitke) Snitke told that music is dead in notes.
Also I would like to propose, If you have desire we would talk in real (skype viber anything). I hope, I more tenacious speaker than writer. I am sorry.
Don't be sorry about your English. You get your point across well.

My interest in improvisation is pretty limited. I often find it one-dimensional, and kind of fake. To me, form elevates music to much greater heights than improvisation, and you can condense ideas or present more than one the same time, which you can't do in improvisation. 'Personal message' me anytime. I don't have Skype or Viber (I'm not that social).

Check out this version for those not sick of it. I used a variant of the sonata form for this, and sorted out the diatonic/chromatic differences. Beside my octatonic fugue is probably the most structured and developed piece I made. Maybe I should call this a sonatina.

 
#314 · (Edited)
Check out this new piece. One of my more tuneful ones lately. It is actually the 2nd movement. I'm making the moderato the first.



Also finally got this sucker right, as I envisioned it. I limited the chromaticism, and focused on making it diatonic. It was a very rough ride getting it right. Almost gave up a few times.



Ollv, I guess I we have a different idea of improvisation. Bach, Prokofiev and Tchaikovsky to me are not improvisational, and are very composed. You might find my new piece here improvisational, but I don't see it that way.
 
#346 ·
This is definitely the best of yours to date. I really enjoy it and would not tire of listening to it many times, unlike most [almost all] of today's music. As has already been mentioned, it should be part of a longer piece. I say much longer, even ten or more minutes. I think that developing an opening section might be particularly challenging, but particularly important and well worth the effort. Certainly worthy of another month or two.
 
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