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I have plans to compose a small piece in each medieval modus. I have done four pieces and have three to go. Here are pieces in dorian and hypodorian modus. I am interested about any comments.

I'm trying to compose for live performance and those mp3's are just for demo purposes:

Modus 1.

Modus 2.

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There are a lot of good things in this piece. I like the harmonic language you use and the melodies are very consistent. 

Music wise, I wished they were longer and more developed. Do you plan on writing more movements?

Notation wise:

You have to check the hand spacing. Moments, like in movement two measures 7, 35, and 36, you have the right hand spread out further than a 10th at times. I have large hands and I can't even reach those notes without rolling them, professional pianist I have worked with have had much smaller hands and that would just not be doable. Measure 7 can be easily fixed by placing the inner voice in the left hand. You must notate that, don't expect your performer to do that on their own. 

A thing I noticed in movement 1 is that you put two different but very close dynamic markings for each hand. Not positive, but I feel you did that to indicate the melody. As helpful as one might think that is, its is actually not useful and will be largely ignored. Your melodies are very clear and the pianist have been trained from the very beginning to bring out the melodies and pull back the accompaniment lines. Using dynamics to indicate that isn't necessary and just creates a messy score. 

Other than that good job. 

My plan is write a small piece in each modus, so I hope there will be seven pieces. I have done five so there is two to go. I was glad you liked my melodies and harmonies. It is very exiting to try create own harmonic athmosphere for each modus.

Than you for you feedback. I try to compose music for live performance so your notes were important.

I have idea how this melody at the end of Modus 2. is reachable by using both hands, but it would be wise to mark it, like you advised. Those dynamic markings for both hands are mainly for notation software and I should hide them from final score. I have been playing piano, but I'm not able to play my pieces at sufficient level, so I render them directly from Sibelius.

Hello Kari,

I listened to both pieces several times, and find both interesting. I like what seems to me to be the experimental nature of the pieces, I hear a new approach to harmony in both. There are notable contrasts in dynamics of loud/soft in Modus 2 in particular. I hear a composer seeking to do something which has not been done before (a big plus to me) and think there are some good things here. On the critical side, the harmonies didn’t grab me in every case - this may be me having a tin ear to your new approach, but I just didn’t feel a “loveliness” out of what you are doing each time. I think this a difficulty in writing modal music (which I also do) - how do you create beauty with it (because it’s definitely harder to work with than traditional harmony). Also, I didn’t find the ending of either piece to be something which was prepared for - each piece seemed to me not to end as a result of reaching a logical conclusion, they both seemed to just stop. Overall, I think you have some interesting things to say. Thanks for posting!

Thank you for your comments. I think almost every composer seeks for own approach to music. I'm glad if there is some original. Anyway, I think my compositions are quite traditional, but there is some polytonal influences and use third related harmonies. For me they sound "normal" and even "harmonic". I like very much about Prokofiev, who has bitter even litlle bit sarcastic way express things. Listen

Your note about sudden endings of pieces was important. I have tendency to end my compositions shortly without preparing listener. This is case in short pieces like Modus 1 and 2 are. 

I like the idea of using modes to provide a structure. we all need some sort of boundaries within which to work. the modes are ready-made for this. within their seemingly confining walls, there is a lot of freedom to roam. I think a marriage of the old with the new can be very fruitful. Look at Durufle's Requiem. It is based on Gregorian Chant, but you'd never know it, as it is steeped in late Romantic/Impressionist harmonies. but underneath all the lush ninth chords, the old chants are there, note for note. An amazing effect, nothing like it in all of Western music, at least that I've heard. So I wish you luck in this quest, so far you've made a good start!

Thank you for your feedback Dirk and Michael and all others. In matter fact, I have 5 pieces ready and two to go. This forum is very important, because there is real attempt to give feedback and encourage also amateur composers like me. To have composing as a hobby is very lonely bisnes at least in the Northern Finland, So, I regard highly this site.

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