# Experiment



## Op.123 (Mar 25, 2013)

I decided I'd experiment with some more (interesting?) harmonies here, I'm interested to know of anyone likes it xD


__
https://soundcloud.com/m-burroughs%2Fxr71bkkdr8s4


----------



## Truckload (Feb 15, 2012)

Very interesting experiment. Those 9th and 11th chords have a lot of power. And they flowed fairly well from one to the next. In my opinion the real artistry comes in how you resolve the dissonances, or temporarily delay resolution. But in my view the complex beauty of these harmonies is only revealed through the resolutions.

I did a bar by bar harmonic analysis of the Beethoven Coriolanus Overture several years ago. It is simply brimming with 7th chords of all varieties. There are so many 7th chords in that overture that I suspect that Beethoven set himself a challenge to use as many 7th chords in that piece as he could. Just me guessing, I have no proof. But I suspect that lots, if not most, composers have tried experiments of one sort or another. I know musicologists have written about Dvorak experimenting with Wagnerian harmonies in his 4th Symphony.

So you are in good company as an experimenter. Now that you are experimenting with these more adventuresome harmonies I suspect you made some discoveries you will want to use in more compositions. I'm looking forward to hearing more.


----------



## Op.123 (Mar 25, 2013)

Thanks, I'm glad you liked it, I'm only 16 and have not had any proper teaching in composition so that may explain anything that doesn't work well xD

Anyway, I added to it a bit, let me know what you think


__
https://soundcloud.com/m-burroughs%2Fexperiment-version-2


----------



## Truckload (Feb 15, 2012)

Wow! Even better! The moving lines come through much better in this version, and the gradual build is awesome. Some nice orchestration touches like the pizzicato use makes the music seem more realistic and add lots of interest. You succeeded in creating a general rise in tension along with the increase in volume.

Can you now come up with a musically attractive way to resolve the dissonance all the way down to a simple triad? Getting into and out of complex harmonies like these while keeping a musically believable texture and harmonic colur is a real challenge. If you have not previously listened to it, I suggest you listen to the finale of the Tristuan and Isolde "Love Death" music by Wagner. In Tristan, Wagner primarily uses 7th chords with a few 9th and 11th chords that function as if they include passing tones and other non-chord tones that tease us with partial resolutions up until the moment of the dramatic climax when we finally have the full resolution of the harmonies. And when the harmonies at long last achieve a full resolution, it is one of the most glorious moments in all music.

It is hard to believe you are only 16. Perhaps you might achieve musical greatness one day.


----------



## Op.123 (Mar 25, 2013)

Thanks again, I have listened to the liebestod, and it is lovely, however, I tried something a little different


__
https://soundcloud.com/m-burroughs%2Fexp-3


----------



## Op.123 (Mar 25, 2013)

Please ignore the last post, I edited the ending which now sounds a lot better 


__
https://soundcloud.com/m-burroughs%2Forchestral-experiment


----------



## Truckload (Feb 15, 2012)

I am very impressed with your work. Each version is better than the last. With this version you start to really communicate some drama and emotion in the music. The variety of textures, and timbres is very good. The climatic moment at the 2:40 mark now is even more exciting and satisfying because we have a resolution. The resolution makes what came before even more memorable and appealing. I listened four times. A great resolution makes the listener want to hear your work again. They want to repeat that moment of deep connection with the music. 

In my view, the greatest composers were and are the greatest communicators. They communicate through music. It might be the sheer joy in the sounds and the mathematical exactness of the harmonies like Bach's keyboard music. It might be the drama and excitement of a huge orchestra of virtuoso musicians like Mahler. It might be the angst of pain and sadness like Tchaikovsky in his sixth symphony. The thing that to me is the most important factor for all great composers is that they had something to communicate to their audience, and they mastered the craft of composition and orchestration sufficiently to be able to do so. 

As you study and grow as a composer you will encounter lots of negativity. Some negativity will be the result of jealousy or ignorance or the pursuit of some agenda that has nothing to do with you. If the critic is truly trying to help, great, but otherwise you have to develop a very thick skin and the ability to just ignore the negativity. Remember that every great composer had critics. The important thing is to remember YOUR audience, the people who value what you have to offer. Develop the skills you need to communicate something meaningful to your personal audience, and be true to yourself.


----------



## Op.123 (Mar 25, 2013)

Thanks a lot once again 

And the resolution is a sort of fale resolution as it resolves onto exactly the same chord (E major, with an added second), however the timbre is different and the root is in the base rather than a G# with an F# a seventh higher


----------

