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  • I'm writing things that I don't analyse. Therefore I'm not sure if I can fit it in the theory I know. But I have a feeling I could relate it to various things, if I'd start digging in it. I have also a feeling I could write my own theory, where I could explain more precisely why I write how I write.
     
    Bob Porter said:

    Does it mean that you are writing more based less on theory and more on what you feel is right? Or are you writing things that don't fit the theory you know?

     

    Grace on Ice
    Here is my new composition.  Thanks for listening. Grace on Ice (By Minseo Park)
  • Thank you again for your inspiring comments.  It will take long time for me to digest the all the materials discussed here.  Cheers!

    Bob Porter said:

    Johan,

    "I've found myself lately writing music that I don't even care to explain myself. It bothers me a bit, but not much, really."

    I'm kind of still trying to figure out what that statement means. Does it mean that you are writing more based less on theory and more on what you feel is right? Or are you writing things that don't fit the theory you know?

    My thinking on this modulation is this: The piece ends up, after the modulation, in Ab. Yet the piece begins in D. I can't see any reason to make that modulation. Now I feel the section before it may be in G. In which case an argument could be made for a half step modulation to add interest. If we have ,indeed, moved away from D to sort of G, then a better modulation to me would be Em, F#m, G (not m or dim), A and back into D. I truth, I have no problem with ending up in Ab, just how we got there. This is why I would need a score, to see what's going on without guessing. Sure, it's not really important. And it would be more for me than Minseo.

    Grace on Ice
    Here is my new composition.  Thanks for listening. Grace on Ice (By Minseo Park)
  • Thank you very much for your suggestion!

    Johan Halmén said:

    One shouldn't need a score to understand (and further "accept" or something) a modulation or whatever thing happens in music. I found the modulation interesting. I know a lot of music theory and I could perhaps analyse it from the score, but I've found myself lately writing music that I don't even care to explain myself. It bothers me a bit, but not much, really.

    However, your modulation kind of settled something, the style of the tonality, something that the rest of the composition didn't keep up to. It's a charming melody and some work on the DAW (making longer sustained chords and maybe adding natural sounding reverb) would make it very good.

    Grace on Ice
    Here is my new composition.  Thanks for listening. Grace on Ice (By Minseo Park)
  • Thank you very much for your comments!  Have a nice day!

    René Torenstra said:

    If I have the key correct it sounds like Emi, F#mi, then something like Gdim Eb7-> Ab.

    The Gdim is somewhat ambiguous, as it is viidim in Ab, but the notes are also part of Eb7.

    It sounds good to me (although I would sooner expect D/F# in stead of F#mi), but I expect the tension people feel comes from the note C against the Db of the accompaniment during Gdim. As I said, I hear no problem, but there are countless alternatives, like Gmi in stead of Gdim, as that would make the ivMD in the key.

    Bob Porter said:

    Without a score I can't help much at the 1:04 mark. However my instinct is that the progression is OK. It's the melody that is the problem

    Grace on Ice
    Here is my new composition.  Thanks for listening. Grace on Ice (By Minseo Park)
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