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A little prelude about disappointment and the majesty of a simple and solemn life

Mighty title, but they say that the longest may be the simplest. Don't know if I was able to transmit all of that.I followed the tip from a composer that told me to get away from the diatonics. Please comment, I'm new to this.

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It might just be me, but I don't really get the feeling of disappointment or solemn life from your piece.  I'm not the best judge of music though, maybe someone else has opinions.  I enjoyed your prelude though.

Disappointment on 3, majestic on 15. It's solemn and simple overall with the long notes. If you have an idea to improve it, please share!

Ronald Fontenot said:

It might just be me, but I don't really get the feeling of disappointment or solemn life from your piece.  I'm not the best judge of music though, maybe someone else has opinions.  I enjoyed your prelude though.

Hi Lucas, it's so short there is hardly anything to comment on, other than it sounds ok. If your intention is to add to it, please do so and let us hear a longer sample.

Gav

Lucas,

Short and sweet. I get most of the title. Something to consider would be to not cross voices. With two similar instruments the effect is not heard very well. Flute and viola would work for voice crossing. Perhaps a little more counterpoint and less movement together, rhythmically.  

Lucas - The viola uses the alto clef: Related image This looks like it is really written for two violins You also have the viola playing above the violin in measures 1, beat 4 through measure 2, beat 2  which does the same at measures 10 & 11. This also happens at measure 14, beats 3 & 4.

There are no dynamic markings. Should this be played pp, p, mp, mf, f, ff? Are there crescendos or decrescendos? Are the double stops that you've written playable by the violist? If you're not sure, you may want to show it to a viola player and get his/her input.

The recording is electronically produced. Computers can play things that real instruments cannot. Have you read any orchestration books? My favorite is the one by Kent Wheeler Kennan.

There are a large amount of 7th, octave, and even a 10th leaps. I would suggest looking at the harmonic progression of the piece - if you play it with chords, do the progression make sense?

Finally, form is important to me - I would take a look at the structure of the piece and see if its what you want. Currently, it seems undefined to me.

Oh well, that's my two cents. I tend to be a "glass is half empty" sort. So I will just say, in the end, it's you who has to be satisfied with your work. Keep doing it and enjoy yourself.

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