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This serves as my composition practice! I'm learning a lot from what people are commenting and also, if I have a compositional study that I want to try out I try it out with Greensleeves. It's helping me become a better composer.

Ohh! I saw that I think I remembered the one with the Animenz callout. Maybe around 40 variations in the span of 2 years!

@@jwarco no way! Do you mean my hbd variation with the animenz reference? And that's awesome! I'd love to take a crack at the variations you have sometime :)

Yes officer I have found the troll comment

I'm not sure that the pedal point f sharp works as well as you wanted it to. And excuse me for nitpicking, but unless you are a certain French music publisher, you never place a half rest in 3/4 time signature. And your enharmonics are wrong in measure 18. You have it correct in measure 34. Your second layer in measure 23 doesn't add up. Measure 38.... ????? There, I said it.

perhaps sometime!

Oh, I haven't released the sheets for this one yet, if you're looking for the sheets for the first six here they are: hakkerous.gumroad.com/l/greensleeves-var-1 Thank you!

The way you “provide feedback” makes me hate that you somehow have students.

​@@Christopher-ww6ob I mean, he's being a close minded dick about it (even in common practice harmony, you can find plenty of fine examples of cross relations.) Also I don't think this is really a cross relation anyway since the A# should really be spelled as a Bb here as it's a b9 chord (which I think is a poor choice but whatever.) But he is right that that moment in this piece does sound very bad. And it's not just a matter of taste. It's pretty clear the composer didn't know what he was doing there just by looking at the notation. First, spelling the A Major in bar 8 with a sharpened octave A# rather than a flattened 9th (which is actually what the chord is) is... debatable to say the least. Then there's the unison between voices that happens in measure 8 on the C#. This is really what makes the moment sound so horrid because the sudden drop in texture makes it sound like the pianist just made a mistake and missed a key somewhere. It almost certainly is the result of the composer wanting to continue the arpeggio figure while going wherever he wanted with the melody without thinking through the consequences. But even if that weren't enough, he goes on to spell the G# Major chord with a C natural in the upper staff and a B# in the lower staff. Now spelling a major chord as a suspended diminished fourth chord is... even more debatable. But the fact is he spells the same note in two different ways in the same measure and harmony for no justifiable reason at all. If that isn't a telltale sign that he didn't know what he was doing, then I don't know what is. So how would I personally correct it? I'm not personally sold that an A Major b9 chord is the right choice at all since this is basically common practice and not consistent with any other harmony that I noticed. But let's say the composer really believed in it. Then you have to lean into the fact that melody is a low point here and have the arpeggio line voice cross past the melody. So the left hand would do something like A E Bb F# E D# before leading into the G# Major chord (which should be spelled with a B# in both hands.) This puts the b9 in an understandable octatonic context which would make it sound less jarring and give it a bit more consistency of color. But even if that is a crap solution, it's pretty clear that this moment is amateurish and should be reworked.

@@prepcoin_nl4362 compare your feedback to theirs. Do you notice that yours provides actual, actionable feedback with citations? That’s the difference. Just like composing, there’s a technique of delivering feedback that the original commenter sorely lacks in both nuance and tact. There was no actionable information in the original comment, paired with an unpleasant tone of writing. There’s being “right” and there’s also a way of delivering your words in a way that people can receive and act on your feedback. Comparing the two, your feedback is clearly superior.

@@Christopher-ww6ob It’s such an interesting discussion, but you need to notice that my comments provided not only the name of the issue, “false relation,” but also the exact location where it appears, “bars 7-8.” That’s enough information to find some good books and investigate what false relation is, when it sounds good or bad, and to listen to examples from these books to become familiar with the audible effects of false relation. Finally, you can spot it in the mentioned bars and decide what to do. That’s called education. Simply pointing out, “You have a problem with E###; replace it with Cbbbbb,” is completely useless.

@@Короткоіясно-ь8р I'm not trying to compete with you really. But I did want to add to what you said in a few ways. 1) Like I said, it's not really a false relation. The A# should be spelled as a Bb and the chord is an A Major add b9. 2) Treating it as a false relation and looking up a textbook would ultimately just yield advice of the "Turn one of the A class pitches into the other" and more than likely, entice the student into rewriting the A#/(Bb) into an A and writing a trite bvi, V, i sequence. This is the "correct" but utterly uninspiring solution that a student is most likely to find. The other would be the only slightly more colorful vi V, i. I think it's more interesting to assume that the student really was drawn to the A Major b9 sound for whatever reason and describe how that might work, and this is something that it's a lot harder to find advice for in a textbook 3) Even if my first two points are disagreeable, the problem with that measure extends well beyond it being a false relation. Like I said, the biggest problem is the inadvertent unison that occurs between the voices. You didn't even mention that when to me, that's the first thing a teacher should be pointing out in that passage. 4) I only offered a note for note solution because like I said finding advice for how to smooth out a b9 chord is hard and I think it's easy to criticize, harder to put your money where your mouth is and demonstrate how something can be improved. I hope when you actually teach students, you aren't just saying things of the variety of "This is bad. Go read to a book to find out why" Like I said though, I ultimately agree with you that it's a jarring moment. I just think maybe you were a bit too hard on a clearly young composer by essentially saying you'd use him as a textbook example of incompetence.

Hope you enjoy it!

@@jwarco I'm loving playing it! 😊

Hello! I have now uploaded the sheet music, it is available for free Gumroad (Free): hakkerous.gumroad.com/l/greensleeves-var-1

Hello! I have now uploaded the sheet music, it is available for free Gumroad (Free): hakkerous.gumroad.com/l/greensleeves-var-1

yep!

fancy seeing you here

@@Max-qd3rb who me??

hello, thank you for this, I'll consider this