วีดีโอ

There's a third but i wrote it as Db instead of C# its in the violas

@@Dinis_Brito Probably should rename it

@@drumming_cat no? its the same thing

ik that in theory its not but in reality who cares

@@Dinis_Brito It's just weird to have a diminished 4th above the root of the chord and especially if there are cxhord symbols people expect some sort of A major to usually include a C# also it's not like it makes the viola part more unreadable to change it to a C#

Tysm im gonna take care of all the slurs this summer since my school orchestra might play this next year

You're spot on on I've never tought of that im gonna show my friends this and see what they think Ty Im a pianist btw

Never heard it let me check

@@Dinis_Britoit’s funny, first 4 measures are nearly identical (not a bad thing, it’s my favorite piece)

@@hahhey1372 yh when i heard it i laughed yhe first chord is the same and sounds the same

és portugués, el musescore es muy parecido en portugues y espanol

@@Dinis_Brito Ah, que curioso :v Cierto que si se parecen mucho, yo hablo ambos idiomas. :)

Mostly experience and getting used to writing for strings and how it sounds

@@Dinis_Brito fair enough. I guess my understanding of string writing comes from differences for each instrument of the strings and bowing - how it relates to phrasing etc... this seemed to go in opposite direction :-)

Yh that was stupid of me ty ill keep that in mind

tysm!

its so satifying

tysm!

good idea might try that

Ty

I came up with this sequence by ear There are rules for orchestration but i dont know them, i kinda just go by ear and write what i think sounds good. Though ik thinking of buying books about orchestration

Am - (weak) tonic function (aka feels like home. As no tonal key center is established yet its home effect can be stronger or weaker, but when relative to C major key it is the VI chord - weak home. So depends where this passage appears in a piece) Ab - modal interchange from parallel minor (referencing C major key). Flat VI of C minor - subdominant function. Adds movement and some tension Fm- modal interchange from parallel minor again. II chord of C minor - subdominant function. Prolongs movement and some tension E7 - dominant function adding a lot of tension, with strong tendency to point towards a resolutions to a new target A. Can see as secondary dominant pointing to VI chord of C major (aka Am) OR the V dominant of the relative minor of the C major (aka A minor key) pointing towards the I chord (Am). I would trend to the 2nd view as up to this point C major key tonality has not been established . Not addressing tensions for this analysis a bit lazy lol. Eb7 - dominant function, adding more tension and subverting expectations, now pointing to resolution in a different direction. Can be see as a secondary dominant pointing back to the Flat VI of parallel minor A minor (aka pointing to Ab again), BUT importantly it also functions more like a tritone substitution for secondary dominant pointing towards the II chord in C major (D) - which we will see is important in resolving back to C major (think of the classic 2-5-1 resolutions in jazz) A7 - dominant function, prolonging tension and this time maintains expectations of a resolution to D (previously Eb7 also pointed here, in fact Eb7 is a tritone sub of A7. It’s a secondary dominant pointing towards the II chord D (again helpful for resolving to C see 251s) Ab7 -dominant function, prolongs tension and points again to a new direction, subverting expectations. Acts as a tritone substitution of the secondary dominant of V in C major, pointing towards G (V in C major). Aka tritone sub of the 2 in the 251 classic progression. Also remember the Eb7 2 measures back points here to Ab so this kind of fulfills that resolution Db7 - dominant function - prolongs tension and points again to a new direction, subverting expectations. Acts as a tritone sub of the V chord in C major (G dominant), which now points to C. Again you can think it like a tritone subbing 5 in a 251 progression. C - finally, resolution! Resolves beautifully to C major. Key center is strongly established as the previous 4 measures have been pointing towards C as the I, the home chord ( think a prolonged subbed 6251 progression - strong tendency as this progression resolves wholly in 5ths). Hope this helps. I’m studying music on my own, particularly focusing in jazz. I highly recommend the Berkeley book to Jazz harmony.

​​@@BustyCaesarAb is not the flat 6th of Cm, but the regular VI! Either that, or you meant to say that it's the flat 6th from the relative (not parallel) of Am, which is C major. But referencing C here makes little sense. The only indication of C being the key here is the last chord, and with all the stuff happening in between, there is nothing that indicates a "feeling" that these chords work towards a resolution of C. So, for theoretical analysis, I think it makes most sense to see the first two chords in isolation, and in that case, Am is a Neopolitan, but in minor (bii of Ab). The Fm to E after can be seen as a parallel of this, a major 3rd down, perhaps in a mediant relationship. Also, Fm is the iv of Cm, not the II!

@@douwemusic Thanks to all of you for your help! I don't know how you manage to justify all the chords that easily, honestly LMAO. I mean, I have knowledge of this, but it would be too hard for me to justify all those modulations 😂

@@douwemusic​​⁠ My bad, yes Fm is the IV of C minor. And Ab is the VI of C minor. Was typing too quickly. I was responding to different comment (I just copied my response to respond to OP) asking how it fits in C so I was using that as a lens. Thanks for the perspective and yes does dependent on the context. I do agree on looking at the first part in isolation. But I do the hear the measures from Eb in a progression to C. Yes it is ambiguous but the tendencies are there

I normally cant describe my emotions with images ita kinda weird my piano teatcher always asks me what emotion a piece evokes and i cant really answer. I guess i tend to write music and also play it with what i "hear"not really what i see. Im not sure what emotions this piece represents yet it still feels very personal to me. Theres a weird beauty to that. Its complicated. Ex: i played brahms intermezzo in A major and my teatcher, when i played it for her, said it was really beautiful and that i understand the piece and its emotions deeply well, though when she asked me to say an emotion it represents i could only come up with "sadness" which i obviously knew wasnt a good description for it To try to summarise i find it difficult to explain a a piece to someone. Doesnt matter however you describe even if its the best description of it it will never be close to what you feel when you actually get to experience that music. I feel like im going around in circles but i really cant explain better.

Short answer: i cant really tell you what my emotions were and are but i know very well that everytime i hear this piece i feel very connected to it since its very personal to me. Any other of my compositions dont feel as personal as this one.

And i think thats the point of music. Music is there so people dont have to use words to explain themselves.

​@@Dinis_Brito Well, I asked, because I'm curious about emotions, but can't describe them well. :D So... I get easily lost while composing. When I ask composers about inspiration, I fish rather for logical advice and point of reference for myself. Thx

@@Krzychu3005 well then im sorry i cant really help you on that. i think that describing emotions through music is something that can only be done with experience in composing and also time. dont give up bc you cant do it now youll eventually be able to do it. i was also in the same position as you then with time kinda grew out of it

you are not bothering anyone dont worry. thank you for th kind words

You should listen to more music

@@uncertainity188 wtf

@@Dinis_Brito This is hardly good harmony. Therefore, it's not among the best I have ever heard. Do you think your 'harmony' is the best? You, a random online composer?, better than the greats?

@@uncertainity188 did i every say it was the greatest? No. give me reasons to believe my harmony is bad *whos your favorite composer?

also i said wtf bc there really was no need for you to comment that under someone just trying to be nice to me

Yes but where could i upload it to? (protected by copyright of course)

@@Dinis_Brito Well... Musescore platform should be fine. I often go there to study a bit from more talented people. That's your call, just sayin :D

tysm really appreciate that!

Fuego

tysm!

what exactly do you mean by that? do you mean how did i resolve to C major? its kinda complex i dont think ill be able to explain it here but if you want i can try to explain it

Alot has to do with chord structure and chord functions. Study up some classical Chord functions and work your way up to late romantic harmony. Then have some fun with a bit of Jazz standards (e.g Misty) then look up Jazz harmony/functions and techniques (e.g Tritone substitution and chromatic mediant relationships) It is a bit much but trust me, it is well worth it.

@@NanaKwame96 yh that will help a lot

Am - (weak) tonic function (aka feels like home. As no tonal key center is established yet its home effect can be stronger or weaker, but when relative to C major key it is the VI chord - weak home. So depends where this passage appears in a piece) Ab - modal interchange from parallel minor (referencing C major key). Flat VI of C minor - subdominant function. Adds movement and some tension Fm- modal interchange from parallel minor again. IV chord of C minor - subdominant function. Prolongs movement and some tension E7 - dominant function adding a lot of tension, with strong tendency to point towards a resolutions to a new target A. Can see as secondary dominant pointing to VI chord of C major (aka Am) OR the V dominant of the relative minor of the C major (aka A minor key) pointing towards the I chord (Am). I would trend to the 2nd view as up to this point C major key tonality has not been established . Not addressing tensions for this analysis a bit lazy lol. Eb7 - dominant function, adding more tension and subverting expectations, now pointing to resolution in a different direction. Can be see as a secondary dominant pointing back to the Flat VI of parallel minor A minor (aka pointing to Ab again), BUT importantly it also functions more like a tritone substitution for secondary dominant pointing towards the II chord in C major (D) - which we will see is important in resolving back to C major (think of the classic 2-5-1 resolutions in jazz) A7 - dominant function, prolonging tension and this time maintains expectations of a resolution to D (previously Eb7 also pointed here, in fact Eb7 is a tritone sub of A7. It’s a secondary dominant pointing towards the II chord D (again helpful for resolving to C see 251s) Ab7 -dominant function, prolongs tension and points again to a new direction, subverting expectations. Acts as a tritone substitution of the secondary dominant of V in C major, pointing towards G (V in C major). Aka tritone sub of the 2 in the 251 classic progression. Also remember the Eb7 2 measures back points here to Ab so this kind of fulfills that resolution Db7 - dominant function - prolongs tension and points again to a new direction, subverting expectations. Acts as a tritone sub of the V chord in C major (G dominant), which now points to C. Again you can think it like a tritone subbing 5 in a 251 progression. C - finally, resolution! Resolves beautifully to C major. Key center is strongly established as the previous 4 measures have been pointing towards C as the I, the home chord ( think a prolonged subbed 6251 progression - strong tendency as this progression resolves wholly in 5ths). Hope this helps. I’m studying music on my own, particularly focusing in jazz. I highly recommend the Berkeley book to Jazz harmony.

​@@BustyCaesarholy shit you actually did it

Tysm!

Ty

Hope you liked it

doesn't really stick to one key

Its mainly in Eb but I modulated a bit Btw ends with a Ebmaj7#11 which isnt in the key of Eb bc of the A natural

ty