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"Cor Agitur" (Agitated Heart) sprang to life as an exercise for a private composition course I took. My mentor instructed me to move outside of my comfort zo...
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This seems like a waltz done in a upbeat, but angular feel, perhaps along the lines of a Stravinsky mashed in with Adams to make it more edible. Great job and it would be great to hear this expanded.
I thought the glissandi are exactly what did work, taking the piece into unique place. The use of Bartok like percussion effects and glissandi together are what kept the piece from being ordinary, or unoriginal.
I would like to hear more in this vein.
(Perhaps the glissandi did not sound exactly as they would, if played on a genuine string instrument by a professional player. The texture was a little bit thin, maybe. But that did not detract from the experience, for me.)
If the harmonies were slightly more adventurous; or if one melodic line were tuned in equal temperament, and a second melodic line were tuned in fixed temperament, using an Arabic mode, or using Javanese intervals, it would be even better, I think.
Thanks for the feedback, all! You've presented well thought through comments that will lead me to make a better revision. Cheers!
Well this is a good first step towards far out. The multitude of techniques is quite nice and the motoric passages contrasted with the imitation at the tempo you have offers a nice pseudo minimalistic character as the material doesn't change too much (an augmentation of the downward stepwise melody). BNut your material is still rooted strongly in classical harmony - basically you chord center about i - Neapolitan - V- I. I like how the Neapolitan area becomes a temporary key area.
So for your next far out piece, why not a chord progression with a bass of 5 descending major thirds, then a half step descent followed by up a fourth twice ... so C-Aflat, B flat-G flat, G#-E, F#-D, E-C,B - E - A
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