1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
    Dismiss Notice
  2. You're only as good as the harshest criticism you're willing to hear.
    Dismiss Notice

Sketch n°4 - "Echo" (piano solo)

Discussion in 'Critique & Feedback' started by Antoine Fribond, May 8, 2023.

  1. #1 Antoine Fribond, May 8, 2023
    Last edited: May 8, 2023

    Thanks for taking time to listen, and sharing your feedback.
  2. *A Noob Opinion* This is really cool. I have no idea how to begin to analyze the harmony or what you are doing but it sounds really cool to me. I like the first 4 bars and it slowly gets more complicated. I could hear it expanding into more instruments but that's just me! Piano is such a beautiful and foreign instrument to me. I commend you Sir!
    Antoine Fribond likes this.
  3. Thank you @adam Matthew Valdez ! If you are interested, I can share some details about harmony (but it's mostly melody thickening through parallel motions) :)
  4. I would love any details you can give on harmony! I struggle when writing at the piano because I tend to write very simple and boring music.
    Antoine Fribond likes this.
  5. Have you watched any of Mike's classes? This is precisely where most of us should begin. The tricks come later.
  6. Thanks for your interest ! So as I said, it's mostly melody thickening rather than harmony per se.

    mm.1-4 : First occurence of the (mixolydian) theme.
    mm. 5-8 : Theme is thickened by first inversion triads which move in parallel motion and diatonically (= use the notes of G mixolydian).
    mm. 9-12 : Theme is thickened by second inversion triads which this time move in strict parallel motion (= always major chords). Bass "C" clashes with the thickened melody.
    mm.13-17 : Developement of mm.9-12, beginning by a transposition of m.9 up a tone and then building up to the climax announced by m.17.
    mm. 18-23 : Second theme, moving similarly to mm.9-17, with the bass "F" clashing.
    mm. 24-25 : Through the piece, bass has been moving from G -> C -> F -> Bb. These 5-1 motions finally lead to a final occurence of the theme in Bb mixolydian.
    mm. 27-28 : End of theme is altered with a quartal vibe (= chords by 4ths) again in parallel motion. Theme is altered from its previous journey.
    m.29 : I don't have an explanation for this part, except that I liked its hexatonic vibe (look for "hexatonic scale").

    I hope it helps, don't hesitate if you have any questions ;)

    Of course, all of this is analysed retrospectively : I didn't think about any of that while writing !

Share This Page