Try the interactive tutorial, or download the Sheet music here: musescore.com/... Fantasia in Db Major, in romantic style Completed August 2024 in Regensburg, Germany
Very ambitious piece-you really explored the full registers of the instrument! There are a lot of ledger lines here-I would suggest either switching clef signs and/or using the 8va sign to eliminate some of them. Someone sitting down to play this would appreciate not having to count all those extra lines. Lastly, in the middle you had sextuplets in the left hand and triplets in the right hand-I would be consistent between the hands and notate them both as one or the other. Great piece-I enjoyed listening. Keep writing!
The reason why i notated the right hand as triplets and the left hand as sextuplets was because in the left hand one motion is 6 notes while in the right hand one motion is 3 notes. Like, the right hand melody is crotchets, so one crotchet is 3 notes, so that's why
@@doritoapollo123 1: The harmony is very simple. Your dominant chords shouldn’t sound so obvious. Try using more typical fantasy harmony like a diminished seven chord instead. Try throwing in chords that might not make as much sense as I-IV-V. Use augmented and diminished chords, throw in some ninths to thicken the sound, and don’t be afraid to borrow chords from other modes, like minor/phrygian/lydian, especially to replace the IV and II chords. 2: Typically, you want to not rely on arpeggios too much. If you look at Chopin, he uses arpeggios, but the top note of each arpeggio outlines a melody, instead of just being plain chords being arpeggiated. 3: You need much more chromaticism and more non chord tones besides passing tones. Try appoggiaturas, leaping tones, suspensions, etc. 4: You need a clear melody and harmony that isn’t just block chords (especially in slower sections). You’re style of eighth and sixteenth note melodies over blocky and static accompaniment get old very quickly. 5: Your piece rambles because there isn’t a strong theme to unite the piece. If you look at Chopin’s Fantasie Impromptu, the theme is instantly recognizable from bar 1. 6: I see at some points you try to go for the florid style of fantasies by having sextuplets in the left hand, but this is not the way to do it. You need to utilize polyrhythms, and keep the melody OFF of the beat. If you look at works by Chopin, his arpeggios outline a melody, but the melody notes are rarely lining up with the beat. If you outline the basic 4/4 pattern with your melody, it becomes blocky and cumbersome very quickly. Look at the second theme of Fantasie Impromptu. 7. Instead of always using block chords or arpeggios to accompany your melodies, use some counterpoint to make it sound interesting. 8. You need to build more tension before your important cadences. Do this by adding counterpoint, thickening the sound over time, avoiding cadences, modulating (the modulation should happen right when the climax hits), sitting in the dominant for longer, and adding rhythmic complexity. The BIGGEST issue is that right after listening to it, I don’t remember a single melody you had, except maybe the coda. You REALLY need a strong and obvious theme to unite the whole piece. Otherwise, it’s just a bunch of rambling. As for what to name it, I have no idea. It doesn’t fit into any real form. Just give it a random title without referencing the form. Reference pieces like Tzigane, Damnation of Faust, Czardas, Appalachian Spring, etc.
![[FULL EP.73] เปิดบ้าน 70 ล้าน "แป้ง Zbing" ยกมาทั้งญี่ปุ่น l เคหสถานบานปลาย l One Playground](http://i.ytimg.com/vi/YBnJhTt07Pg/mqdefault.jpg)
I am in awe, how beautiful
Very ambitious piece-you really explored the full registers of the instrument!
There are a lot of ledger lines here-I would suggest either switching clef signs and/or using the 8va sign to eliminate some of them. Someone sitting down to play this would appreciate not having to count all those extra lines. Lastly, in the middle you had sextuplets in the left hand and triplets in the right hand-I would be consistent between the hands and notate them both as one or the other.
Great piece-I enjoyed listening. Keep writing!
The reason why i notated the right hand as triplets and the left hand as sextuplets was because in the left hand one motion is 6 notes while in the right hand one motion is 3 notes. Like, the right hand melody is crotchets, so one crotchet is 3 notes, so that's why
This is not written in the style of a fantasy.
@@ObscureGaruda My mistake, I didn't know what else to name it. Any recommendations?
@@doritoapollo123
1: The harmony is very simple. Your dominant chords shouldn’t sound so obvious. Try using more typical fantasy harmony like a diminished seven chord instead. Try throwing in chords that might not make as much sense as I-IV-V. Use augmented and diminished chords, throw in some ninths to thicken the sound, and don’t be afraid to borrow chords from other modes, like minor/phrygian/lydian, especially to replace the IV and II chords.
2: Typically, you want to not rely on arpeggios too much. If you look at Chopin, he uses arpeggios, but the top note of each arpeggio outlines a melody, instead of just being plain chords being arpeggiated.
3: You need much more chromaticism and more non chord tones besides passing tones. Try appoggiaturas, leaping tones, suspensions, etc.
4: You need a clear melody and harmony that isn’t just block chords (especially in slower sections). You’re style of eighth and sixteenth note melodies over blocky and static accompaniment get old very quickly.
5: Your piece rambles because there isn’t a strong theme to unite the piece. If you look at Chopin’s Fantasie Impromptu, the theme is instantly recognizable from bar 1.
6: I see at some points you try to go for the florid style of fantasies by having sextuplets in the left hand, but this is not the way to do it. You need to utilize polyrhythms, and keep the melody OFF of the beat. If you look at works by Chopin, his arpeggios outline a melody, but the melody notes are rarely lining up with the beat. If you outline the basic 4/4 pattern with your melody, it becomes blocky and cumbersome very quickly. Look at the second theme of Fantasie Impromptu.
7. Instead of always using block chords or arpeggios to accompany your melodies, use some counterpoint to make it sound interesting.
8. You need to build more tension before your important cadences. Do this by adding counterpoint, thickening the sound over time, avoiding cadences, modulating (the modulation should happen right when the climax hits), sitting in the dominant for longer, and adding rhythmic complexity.
The BIGGEST issue is that right after listening to it, I don’t remember a single melody you had, except maybe the coda. You REALLY need a strong and obvious theme to unite the whole piece. Otherwise, it’s just a bunch of rambling.
As for what to name it, I have no idea. It doesn’t fit into any real form. Just give it a random title without referencing the form. Reference pieces like Tzigane, Damnation of Faust, Czardas, Appalachian Spring, etc.
@@ObscureGaruda I gotta admit that this piece isn't my best woven together, thx for the feedback