# My second composition for audition in Lydian mode



## Sekhar (May 30, 2016)

Hi folks, here's the second piece I'm writing to audition for a composition class this fall (I submitted my first composition "Courting Amy" in sonata form earlier). I'd really appreciate any and all feedback you can give to help me with the audition. Again, I've left the analysis in place to communicate my harmonic intent throughout the piece.

This is in a one reprise sectional binary form, written in Bb Lydian mode. What I'm hoping for is feedback on the overall structure, correctness (as in following traditional common practice conventions), and of course general aural effect/feel. In particular, I'm curious about how I used the Lydian mode. Also, any aspects you find specifically successful or wanting would help in me improving this piece as well as learning in general. Thanks!


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## Phil loves classical (Feb 8, 2017)

Sounds more like a pop melody than Classical, was that the intent? The melody in piano part for around bars 13-17 and 23-26 doesn't seem to make use of the E-note in both correctly, and the F note in the 2nd section only. It sounds like you are writing a melody that suits a major key instead of B flat Lydian. Try playing around with the melody or shifting certain parts a semitone. There is a certain rhythm that also sounds very repetitive. Also what you do with the rhythm starting in bar 31 sounds mundane to me.


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## Sekhar (May 30, 2016)

Thank you very much, Phil. I meant this to be kind of like a hymn of sorts, with a lot of repetition, and it is supposed to be serene (which is the reason for the section starting in 31), if you will. Could you elaborate on the comment about E in 13-17 and 23-26? It's the natural E, right, denoting the "fi" of the Lydian? I don't get your comment. The melody is identical in both sections for piano.

Anyway, I realized after posting that I didn't change the piano, which was more of a placeholder. I've since changed it to harp, which is more in line with my intent. I also made a few changes in the second section, where I originally attempted some counterpoint, but I'm not happy with the result, so am making it homophonic again. I will post it shortly, but I will incorporate your feedback if I hear back by then. Thanks again.


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## Sekhar (May 30, 2016)

Here's the updated version with harp replacing piano and the counterpoint in the second part improved (hopefully), along with a few other minor tweaks. Please do let me know your thoughts, even if all negative, as my goal is to improve it for the audition (this week).

Just to add to what I wrote, my attempt is to convince the audition committee that I understand the basics of composition and that I have potential for developing my own style. This composition is meant to contrast my first composition as much as possible.

Tne reason for choosing Lydian mode BTW is that the scale corresponds to the Indian raag "Yaman" ("Kalyani" in South India), and my long term goal is to work on some kind of fusion incorporating some elements of Indian (especially South Indian) music.


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## Phil loves classical (Feb 8, 2017)

Sekhar said:


> Thank you very much, Phil. I meant this to be kind of like a hymn of sorts, with a lot of repetition, and it is supposed to be serene (which is the reason for the section starting in 31), if you will. Could you elaborate on the comment about E in 13-17 and 23-26? It's the natural E, right, denoting the "fi" of the Lydian? I don't get your comment. The melody is identical in both sections for piano.
> 
> Anyway, I realized after posting that I didn't change the piano, which was more of a placeholder. I've since changed it to harp, which is more in line with my intent. I also made a few changes in the second section, where I originally attempted some counterpoint, but I'm not happy with the result, so am making it homophonic again. I will post it shortly, but I will incorporate your feedback if I hear back by then. Thanks again.


Yeah, I think it's between the E and F notes being only a semitone apart. I think that melody or line doesn't quite suit those notes. I'm not sure by replacing the piano with harp if the last rhythm would work on a harp with 16th notes on the same string/note.


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## Sekhar (May 30, 2016)

Phil loves classical said:


> Yeah, I think it's between the E and F notes being only a semitone apart. I think that melody or line doesn't quite suit those notes. I'm not sure by replacing the piano with harp if the last rhythm would work on a harp with 16th notes on the same string/note.


Yes, they're supposed to be a semitone apart: Lydian has a "fi' in place of "fa" - please see https://www.pianoscales.org/lydian.html. Or did you mean something else?

Fair point about the harp, but the tempo here is very low (60), so I believe sixteenth notes are easily playable; but I will confirm.


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## Xinver (Aug 26, 2016)

I think lydian mode is not well developed here.
Until measure 12, the #4 (characteristic note in lydian), which is E natural, doesn't appear. But this is not crucial, it appears later a lot, and that's OK.
Some chords are note correct. In m. 12 V7 is Vmaj7 (Fmaj7, with E natural).

The most important is the progression. In modal music, you must keep away from everything that resembles major mode. So, using lots of V - I, or II - V - I, here destroys the modal flavor and makes it sound major.

In lydian mode you have:
the main chord: I (Bb)
cadential chords: II (C), also vii (Am), cadential chords in modality are the ones that include the characteristic note.
progressions to avoid: V -I (F/F7-Bb), V-iii (F-Dm), V-vi (F-Gm)... because they take you to the major sonority.

Remember that in modal musica there are no dominants chords, there are cadential ones.

In summary you have used the lydian scale, but not the lydian mode. To become that fully attention must be paid to melodic and harmonic issues.


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## Sekhar (May 30, 2016)

Xinver said:


> I think lydian mode is not well developed here.
> Until measure 12, the #4 (characteristic note in lydian), which is E natural, doesn't appear. But this is not crucial, it appears later a lot, and that's OK.
> Some chords are note correct. In m. 12 V7 is Vmaj7 (Fmaj7, with E natural).
> 
> ...


Great info, thanks a lot. I will see how to rework the piece.


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## Vasks (Dec 9, 2013)

Xinver said:


> The most important is the progression. In modal music, you must keep away from everything that resembles major mode.


I said the exact same thing a few weeks back. Although I added staying away from the minor too since I didn't know which mode he'd choose.


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## Xinver (Aug 26, 2016)

Vasks said:


> I said the exact same thing a few weeks back. Although I added staying away from the minor too since I didn't know which mode he'd choose.


Yes, of course. Stay away from major/minor, that is to say, mostly progressions like V - (and every chord of the tonic family in major or minor).
Major mode is SO STRONG, minor mode too but a bit less, (400 years listening to it everywhere) that if you don't take care of avoiding its progressions, the modal flavor will be ruined.


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