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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.
     
    Matthias Calis and Sylvain Provenzano like this.
  2. #2 adam Matthew Valdez, May 12, 2023
    *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!
     
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  3. #3 Antoine Fribond, May 13, 2023
    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. #4 adam Matthew Valdez, May 17, 2023
    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. #5 Rohann van Rensburg, May 17, 2023
    Have you watched any of Mike's classes? This is precisely where most of us should begin. The tricks come later.
     
  6. #6 Antoine Fribond, May 17, 2023
    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 !
     
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