# I Am A New Age Piano Composer (A Revelation): Find My Future Works Here



## Captainnumber36

I have had the recent revelation that I am a New Age Artist. The genre is known for it's tranquil sounds and peaceful feelings. I've narrowed down which old works I want to keep, and found a vision for the future. I am more aware of my technical ability and boundaries than ever, and am composing at that level. My technical abilities aren't for those that like to be dazzled by fast scales, but if you enjoy a strong melodic hook, please do listen. I felt the need to create a new thread on this similar topic because I am having a fresh start to my musical journey. You can listen to my youtube channel if you'd like, it's linked below.

Thank you,

Nakulan

https://www.youtube.com/channel/UCyUv3y1LKuZfwbOgBiV30dA/videos


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## Captainnumber36

The first work I'd like to showcase and discuss is "Arra". It is interesting in that it has portions in 7 and sections in 6.


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## SergeOfArniVillage

I'm happy for you, it's a big deal to find one's identity. And seeing as how hectic, busy, and stressful a lot of peoples' lives are, something tranquil and relaxing is probably very welcome.

Good luck pursuing your new direction


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## Phil loves classical

Captainnumber36 said:


> The first work I'd like to showcase and discuss is "Arra". It is interesting in that it has portions in 7 and sections in 6.


It doesn't matter whether you call the music new age or Classical, the same applies. I still think you need to work on harmonizing your left hand with right more consistently. New Age and pop composers still do the same. Try paying attention to music you like and how it sounds together, I mean like more critically or analytically. There were a couple of pieces a while ago, where you didn't use functional harmony, where it worked.


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## Captainnumber36

Phil loves classical said:


> It doesn't matter whether you call the music new age or Classical, the same applies. I still think you need to work on harmonizing your left hand with right more consistently. New Age and pop composers still do the same. Try paying attention to music you like and how it sounds together, I mean like more critically or analytically. There were a couple of pieces a while ago, where you didn't use functional harmony, where it worked.


I remember which one it was too. When I say I'm New Age, all I'm saying is that I'm decidedly not as complex as Classical Music, much more based on pop sounding melodies and utilize pop song structures.

I have been listening to lots of solo piano New Age albums and I'm starting to get some fresh ideas. We'll see what comes out of me next.

All I know is that I'm no longer going to force myself into doing something out of my comfort zone, I just want to arrive there by listening to a variety of music. That's how it's always been for me.


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## Phil loves classical

Captainnumber36 said:


> I remember which one it was too. When I say I'm New Age, all I'm saying is that I'm decidedly not as complex as Classical Music, much more based on pop sounding melodies and utilize pop song structures.
> 
> I have been listening to lots of solo piano New Age albums and I'm starting to get some fresh ideas. We'll see what comes out of me next.
> 
> All I know is that I'm no longer going to force myself into doing something out of my comfort zone, I just want to arrive there by listening to a variety of music. That's how it's always been for me.


I agree. It has to come naturally or feel natural even if you try something else. I had my doubts what Serge said about trying something crazy would apply to you, it was more for someone with a firmer (maybe too firm) grasp of what they do. That's why I was interested in hearing the result even if it was bad.


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## Captainnumber36

Here is the song I took down, Phil. I changed the tone to piano which makes a lot of difference, I in the end think it's a rather fun little composition, maybe something like Zappa would write, melodically speaking?


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## Oscardude

Sounds great and I'm glad you found your musical identity. The hardest part is over, now have some fun writing


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## Captainnumber36

Oscardude said:


> Sounds great and I'm glad you found your musical identity. The hardest part is over, now have some fun writing


Thanks for listening and commenting Oscar!


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## Phil loves classical

Captainnumber36 said:


> Here is the song I took down, Phil. I changed the tone to piano which makes a lot of difference, I in the end think it's a rather fun little composition, maybe something like Zappa would write, melodically speaking?


Works for me. You did branch out with this one. The accompaniment is more sophisticated I think, don't you agree? It's not New Age. I think don't worry too much about labels and just do your thing. I think the melody starting around 0:14 would sound better in the bass and you shift the accompaniment to your right hand.


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## Captainnumber36

Phil loves classical said:


> Works for me. You did branch out with this one. The accompaniment is more sophisticated I think, don't you agree? It's not New Age. I think don't worry too much about labels and just do your thing. I think the melody starting around 0:14 would sound better in the bass and you shift the accompaniment to your right hand.


Yes, I agree. I'm not sure I could change the melody and accompaniment around like that and actually be able to perform it.

That's something to think about, doing melodies with the left hand.


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## SergeOfArniVillage

This might be the same piece, but it sounds about a million times better using this keyboard sound rather than the harpsichord sound that you used before. I didn't realize the instrumentation would have such a dramatic effect on the actual music itself. Even "Caramel Popcorn" as the name fits better than your previous name ^_^


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## Captainnumber36

SergeOfArniVillage said:


> This might be the same piece, but it sounds about a million times better using this keyboard sound rather than the harpsichord sound that you used before. I didn't realize the instrumentation would have such a dramatic effect on the actual music itself. Even "Caramel Popcorn" as the name fits better than your previous name ^_^


Yes, I agree. It was a bad call on both counts last time, and I knew better!


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## Captainnumber36

Here is a new one:


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## Phil loves classical

^ That's a good one. Plus the left hand always suited what was going on. It's like a lullaby. It's up to you, but you may want to develop it more. After around the 2:00 mark it was repeating stuff from before, and I generally tune out when that happens.


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## Captainnumber36

Phil loves classical said:


> ^ That's a good one. Plus the left hand always suited what was going on. It's like a lullaby. It's up to you, but you may want to develop it more. After around the 2:00 mark it was repeating stuff from before, and I generally tune out when that happens.


I knew it was a strong one. It was the result of staying up all night listening to solo piano new age music on Apple Music. I was paying attention to left hand patterns, melodies and how the song evolves throughout.

I know you don't like repetition, but it is something I do at this time. Maybe I'll grow out of that, but it's like a pop song structure.


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## Captainnumber36

"Funnel Cake"


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## Phil loves classical

It looks like listening to New Age did help you with the left hand. I still tend to tune out in the more repetitive parts, but for relaxation purposes, it might do the trick.


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## Captainnumber36

Phil loves classical said:


> It looks like listening to New Age did help you with the left hand. I still tend to tune out in the more repetitive parts, but for relaxation purposes, it might do the trick.


Thanks Phil! I do feel like listening to New Age has bumped me up a notch in composition competence. I've had the verse section to this work for years, but only now decided to make a piece out of it.


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## Captainnumber36

edited and deleted.


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## SergeOfArniVillage

Just a note. Your left hand when playing the keyboard looks uncomfortable to me. Typically, the wrist should be above the keyboard, not below it. As in, pretend that both hands are gently holding a computer mouse at level with the keys. If you need to get a higher bench to make this feel natural, it may be worth it. I'm letting you know this because one of the most important things, I think, is to feel comfortable and natural with the piano, and letting your hands gently drop down from above feels amazing when playing the piano, even in simple pieces.

https://images.app.goo.gl/DeFU1Fnj5dA2B4mQ8


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## Captainnumber36

SergeOfArniVillage said:


> Just a note. Your left hand when playing the keyboard looks uncomfortable to me. Typically, the wrist should be above the keyboard, not below it. As in, pretend that both hands are gently holding a computer mouse at level with the keys. If you need to get a higher bench to make this feel natural, it may be worth it. I'm letting you know this because one of the most important things, I think, is to feel comfortable and natural with the piano, and letting your hands gently drop down from above feels amazing when playing the piano, even in simple pieces.
> 
> https://images.app.goo.gl/DeFU1Fnj5dA2B4mQ8


Yes, I know what you speak of. I noticed it watching my own videos and can feel it while performing. I just put up with it for now since I sit comfortably at my piano and play on that when not recording a video for youtube.


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## Captainnumber36




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## Phil loves classical

A general rule to follow is when your RH moves up, to have your left hand move down, which adds balance (don't argue with me on this one about the general rule, it applies even to atonal music). For this reason I'd change the left hand chord at 0:51 to an inversion or an octave lower, and not repeat it the same way the second time, have another inversion of the chord (it may sound more technical, but even pop and New Age musicians do it all the time).


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## Captainnumber36

Phil loves classical said:


> A general rule to follow is when your RH moves up, to have your left hand move down, which adds balance (don't argue with me on this one about the general rule, it applies even to atonal music). For this reason I'd change the left hand chord at 0:51 to an inversion or an octave lower, and not repeat it the same way the second time, have another inversion of the chord (it may sound more technical, but even pop and New Age musicians do it all the time).


Thanks for listening! I'll try to remember that for future works.


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## Captainnumber36

"Northern Lights"


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## Captainnumber36

Captainnumber36 said:


> "Northern Lights"


I do an arpeggio of a D-Major with my right hand (D-A-F#) and on the F# of my right hand, I simultaneously hit a G and then go on to finish the C-major chord with an E and then a C.

How is that working out theoretically? (Especially the F#/G part).


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## Phil loves classical

Captainnumber36 said:


> I do an arpeggio of a D-Major with my right hand (D-A-F#) and on the F# of my right hand, I simultaneously hit a G and then go on to finish the C-major chord with an E and then a C.
> 
> How is that working out theoretically? (Especially the F#/G part).


It's not heard as 2 separate chords (D and C), but rather 1 chord which is the D7 chord which has D F# A C. You harmonized the F# with G in the left hand which is dissonant but ok, there's nothing wrong with that. I think when you switched the left hand to play E B G# (E major chord) it didn't sound good because it didn't resolve and nor was it in keeping with the chord before. If you played D B G# instead it would be more interesting, because you'd be linking it to the first part with a common tone (D) to form a new chord E G# B D which is the E7 chord.


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## Captainnumber36

Phil loves classical said:


> It's not heard as 2 separate chords (D and C), but rather 1 chord which is the D7 chord which has D F# A C. You harmonized the F# with G in the left hand which is dissonant but ok, there's nothing wrong with that. I think when you switched the left hand to play E B G# (E major chord) it didn't sound good because it didn't resolve and nor was it in keeping with the chord before. If you played D B G# instead it would be more interesting, because you'd be linking it to the first part with a common tone (D).


I actually love when I go to the E-Maj. haha!


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## Phil loves classical

Captainnumber36 said:


> I actually love when I go to the E-Maj. haha!


Try D B G# and then E B G#, rather than playing E B G# twice. It would add more sophistication in my opinion.


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## Captainnumber36

Phil loves classical said:


> Try D B G# and then E B G#, rather than playing E B G# twice. It would add more sophistication in my opinion.


I'll try it, but I hit an E with my right hand there...


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## Captainnumber36

If I changed what comes after around, I think it could work.


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## Captainnumber36

I don't know if I like how the D/G# harmony sounds too.


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## Captainnumber36




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## Captainnumber36

Captainnumber36 said:


>


The message is too short, lengthening now!


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## Phil loves classical

It sounds you're using a lot of notes from the oriental pentatonic scale for most of it. I think either the melody should be longer and varied more, or if you're going for the Debussy sort of thing, to vary and experiment with more exotic harmonies. It sounds a bit underdeveloped and common to me as is (since I've heard a lot of Oriental music).


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## Captainnumber36

Phil loves classical said:


> It sounds you're using a lot of notes from the oriental pentatonic scale for most of it. I think either the melody should be longer and varied more, or if you're going for the Debussy sort of thing, to vary and experiment with more exotic harmonies. It sounds a bit underdeveloped and common to me as is (since I've heard a lot of Oriental music).


I always love hearing your honest feedback, thanks! It tends to inspire the next piece I write.


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## Captainnumber36

Edited and deleted.


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## Captainnumber36

"Haystack"


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## Phil loves classical

I think it's a good direction you're going. It has more overall structure and more exotic sounding. I felt the right hand was much stronger than the left hand. I would keep the right hand as is and try playing around with different combos in the left hand.

Also I would add that I think you have a good idea here that you should try to keep working at the piece to perfect rather than moving on. Don't expect to get it right right away, it's not less inspired if you have to work at it (I would say the opposite, that if it comes too easy, it is likely not something that interesting).


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## Captainnumber36

Phil loves classical said:


> I think it's a good direction you're going. It has more overall structure and more exotic sounding. I felt the right hand was much stronger than the left hand. I would keep the right hand as is and try playing around with different combos in the left hand.
> 
> Also I would add that I think you have a good idea here that you should try to keep working at the piece to perfect rather than moving on. Don't expect to get it right right away, it's not less inspired if you have to work at it (I would say the opposite, that if it comes too easy, it is likely not something that interesting).


Thanks. I think the LH chords in the A section are interesting, perhaps a bit bland in the B section, but it works well. I always have to work hard and put a lot of thought into my songs as I write them.


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## millionrainbows

In all honesty, I don't care for "haystack" or any of the other music at all. I would change about half of those major chords into minor. 
Also, it sounds stiff. I think you need to listen to some jazz, and get some of those Jamtrax to play along with, and listen more before you presume to compose. Humble yourself!

Listen to some of that Electronic stuff on new sky, like Roedelius.


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## Phil loves classical

^ That's harsh, but I think you have a point about the major/minor on left hand, not necessarily with the half being minor. Haystack kind of reminds me of this piece, Capt'n. You're sort of using the same mode or whatever. Try looking at the score for Gnoisenne No. 1, absorb, and try out something.


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## Captainnumber36

millionrainbows said:


> In all honesty, I don't care for "haystack" or any of the other music at all. I would change about half of those major chords into minor.
> Also, it sounds stiff. I think you need to listen to some jazz, and get some of those Jamtrax to play along with, and listen more before you presume to compose. Humble yourself!
> 
> Listen to some of that Electronic stuff on new sky, like Roedelius.


Thanks for your honest thoughts, but you seem to be listening for something that this music isn't. I consider myself a songwriter, more than a composer.


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## Captainnumber36

Phil loves classical said:


> ^ That's harsh, but I think you have a point about the major/minor on left hand, not necessarily with the half being minor. Haystack kind of reminds me of this piece, Capt'n. You're sort of using the same mode or whatever. Try looking at the score for Gnoisenne No. 1, absorb, and try out something.


Thanks for the example! I don't really consider myself Classical, but thanks for the comparison and encouragement to try something based around this.


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## Phil loves classical

Captainnumber36 said:


> Thanks for the example! I don't really consider myself Classical, but thanks for the comparison and encouragement to try something based around this.


Satie is considered by some to be a pioneer in ambient, minimalism and New Age.


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## Tchaikov6

Captain, I've never liked the style of music you do, but I'm fairly impressed with your last couple videos, you're definitely much better than a year or two ago when I last listened to your pieces!


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## Captainnumber36

Tchaikov6 said:


> Captain, I've never liked the style of music you do, but I'm fairly impressed with your last couple videos, you're definitely much better than a year or two ago when I last listened to your pieces!


Thanks! I'm happy you hear growth.


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## Captainnumber36

"Danse Macabre"


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## Phil loves classical

^ This is a big step forward. The left hand accompaniment has greatly improved. I think I know the sound you're going after on that dissonant chord at 0:24. Try playing the left hand note a semitone higher or lower. It's a trick to harmonize a chord that is a big break of the pattern.


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## Captainnumber36

Phil loves classical said:


> ^ This is a big step forward. The left hand accompaniment has greatly improved. I think I know the sound you're going after on that dissonant chord at 0:24. Try playing the left hand note a semitone higher or lower. It's a trick to harmonize a chord that is a big break of the pattern.


Thanks Phil!


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## Captainnumber36

This one was quite a bit harder to write and record.


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## Captainnumber36

Mellow D (jam)


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## Phil loves classical

I think this is very good towards your New Age / relaxation angle. You incorporated some more variety of rhythms in both hands, and has more melody and less rigid / more flexible overall. You've shown exponential growth the past couple months or so.


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## Captainnumber36

Phil loves classical said:


> I think this is very good towards your New Age / relaxation angle. You incorporated some more variety of rhythms in both hands, and has more melody and less rigid / more flexible overall. You've shown exponential growth the past couple months or so.


Thank you!  (15 characters)


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## Captainnumber36

Here is the composition of Mellow D, it's an older one but people always love it when I perform it.


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## Captainnumber36

Here is the Mellow D (Jam) version again. That seemed to go over better with folks.





Here is another jam, "Uncle Pedro's Pipe Dream".


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## Phil loves classical

I feel Uncle Pedro's is too repetitive with some of the chords and the left hand pattern. I think you should try to incorporate the modulation/transposition into your longer pieces. It adds a lot of development in interesting ways. They also do that in pop, not only Classical. To much repetition or staying in the same key makes the listener feel the music confined and limited, even when you add those improvs in the middle.


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## Captainnumber36

Phil loves classical said:


> I feel Uncle Pedro's is too repetitive with some of the chords and the left hand pattern. I think you should try to incorporate the modulation/transposition into your longer pieces. It adds a lot of development in interesting ways. They also do that in pop, not only Classical. To much repetition or staying in the same key makes the listener feel the music confined and limited, even when you add those improvs in the middle.


You do know the whole thing is an improv, though, right?


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## Phil loves classical

Captainnumber36 said:


> You do know the whole thing is an improv, though, right?


Really? Had no idea. I thought they were all written out. Haha. Basically everything you do is improvisational to some degree, some parts with more form than others. I think modulation is your next step. It will add more form/structure and things of interest.


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## Captainnumber36

Phil loves classical said:


> Really? Had no idea. I thought they were all written out. Haha. Basically everything you do is improvisational to some degree, some parts with more form than others. I think modulation is your next step. It will add more form/structure and things of interest.


That's a good point, thanks for the tip!


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## Captainnumber36

I took your advice Phil, what do you think of this jam?


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## Captainnumber36

It starts in G Maj, and I change to A minor, and tease around C major a bit.


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## Phil loves classical

You made good changes in your right hand from around 2:20 and 4:00 which were already progress from your other pieces, but I don't believe you actually modulated to a different key, since your left hand played similar chords to before. But still there you had more interesting interaction you didn't have before. Just keep in mind for later, modulation doesn't mean chord changes only.


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## Captainnumber36

Phil loves classical said:


> You made good changes in your right hand from around 2:20 and 4:00 which were already progress from your other pieces, but I don't believe you actually modulated to a different key, since your left hand played similar chords to before. But still there you had more interesting interaction you didn't have before. Just keep in mind for later, modulation doesn't mean chord changes only.


Could you clarify a bit more what modulation is then?


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## Captainnumber36

Is it changing key more clearly than I have done in #41?


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## Phil loves classical

You were always tonally in key of A minor technically, your original LH progression was Am, Bm, Em, D and back to Am, even though you did play a lot of notes from G major scale on both hands (the F#). Later you did switch up your progression and play chords C, G, and F, (with F natural) but you always started and ended up in A minor still.

A true modulation is you would abandon the A minor for a while and centre on some other key. But still there was progress in moving between different chords of different keys between G major scale in the first progression and A minor scale in the 2nd progression, even though you were centred and returning to A minor in both progressions.


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## Captainnumber36

Phil loves classical said:


> You were always tonally in key of A minor technically, your original LH progression was Am, Bm, Em, D and back to Am, even though you did play a lot of notes from G major scale on both hands (the F#). Later you did switch up your progression and play chords C, G, and F, (with F natural) but you always started and ended up in A minor still.
> 
> A true modulation is you would abandon the A minor for a while and centre on some other key. But still there was progress in moving between different chords of different keys between G major scale in the first progression and A minor scale in the 2nd progression, even though you were centred and returning to A minor in both progressions.


I think I kind of like staying in the same tonality for these jams. It gives a sense of sameness, and helps with the flow. I feel it would be hard to change the tonality and still keep everything smooth.


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## Phil loves classical

Captainnumber36 said:


> I think I kind of like staying in the same tonality for these jams. It gives a sense of sameness, and helps with the flow. I feel it would be hard to change the tonality and still keep everything smooth.


It would definitely take getting used to, to perform. But even pop songs do it, so there is a bit of expectation by the listener, especially when it is too much the same for a longer piece. But i think what you did is in essence has some of the effect of a modulation, since you used 2 different scales and the harmony changed. I think that's enough. I just wouldn't want you to go back to the same chord progression throughout.


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## Captainnumber36

Phil loves classical said:


> It would definitely take getting used to, to perform. But even pop songs do it, so there is a bit of expectation by the listener, especially when it is too much the same for a longer piece. But i think what you did is in essence has some of the effect of a modulation, since you used 2 different scales and the harmony changed. I think that's enough. I just wouldn't want you to go back to the same chord progression throughout.


Thanks, you are such a treasure to this board with your vast knowledge! I wish I could give you better feedback on your work, but I only have my ears and can really only tell you what I like and dislike.

I definitely tend to enjoy your more tonal works more.


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## Phil loves classical

Captainnumber36 said:


> Thanks, you are such a treasure to this board with your vast knowledge! I wish I could give you better feedback on your work, but I only have my ears and can really only tell you what I like and dislike.
> 
> I definitely tend to enjoy your more tonal works more.


Haha. I think it was only more recently I was able to analyze the music better, after going through and struggling myself with it. Before it was just intuition, which wasn't always right.


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## Captainnumber36

I think part of my issue is, I'm very much from the camp of there is no wrong; you do what you please and if others like it great, if not, oh well.

But, I like getting ideas from others on how I can do things I'm not already doing.


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## Captainnumber36

I wanted to do something for Beethoven's birthday, here is another jam:


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## Captainnumber36

Any impressions? I tried playing around even more with modulation. I'm impressing myself with what I'm capable of.


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## Phil loves classical

I don't hear any modulation. You're borrowing chords and notes. That's ok. Just keep playing around. It's expanding your range of expression.


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## Captainnumber36

Phil loves classical said:


> I don't hear any modulation. You're borrowing chords and notes. That's ok. Just keep playing around. It's expanding your range of expression.


I feel like I'm failing to fully grasp what modulation is, but yes, I'm also happy with what I'm pushing myself to do.


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## Captainnumber36




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## Captainnumber36

I lose sense of my tempo a bit during the jam, and the ending is rushed, but what I like about this jam is that it flowed better than the Dirt in that it had more distinct sections.

The Dirt had some wankery, but some nice sections, esp. around the 5 min mark.


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## Captainnumber36

I redid it. I'm much happier with this version! TC may not like it, but I think the slower tempos, less left hand variation and sticking closer to the progression is going to help me with my consistency and that's important to me.

I like focusing on building a melody within minimal changes.


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## Captainnumber36

Check this out! A friend put the above jam at twice the speed and added drums to it. It's pretty sweet and he lives near me too, went to HS with him. https://voca.ro/i4R6daXWq53


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## Phil loves classical

At first I thought "not another long jam", but I love low-fi 50's rock n' roll, sounds like Jerry Lee Lewis, but I'd say more creative, and it's condensed rather than drawn out. Honestly, I think you're suited to this more than the new age style (I would qualify this by saying I can't stand corn, even though I wrote some pretty corny stuff). It's too bad you're 60 years too late on the scene. You could have been a star. Ok, maybe the visible minority part could have been a big obstacle.


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## Captainnumber36

Phil loves classical said:


> At first I thought "not another long jam", but I love low-fi 50's rock n' roll, sounds like Jerry Lee Lewis, but I'd say more creative, and it's condensed rather than drawn out. Honestly, I think you're suited to this more than the new age style (I would qualify this by saying I can't stand corn, even though I wrote some pretty corny stuff). It's too bad you're 60 years too late on the scene. You could have been a star. Ok, maybe the visible minority part could have been a big obstacle.


I agree this is better suited for me!


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## Captainnumber36

"Liquid Crystal"


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## Phil loves classical

It's a new scale for you. Kind of Middle-Eastern sounding. I think a lot of your pieces could be greatly condensed for more impact. Say the first phrase/line, which is repeated 4 times at the beginning. Then the lines after don't add that much, until some time past the minute mark. Even new age and pop have larger chunks before they are repeated. It's like you're repeating sentences. It may be a way to buy time to think of something else, but if everything was more planned beforehand it could make a lot more impact. Try not repeating anything until you stated 3 different phrases or sentences, or change something if you repeat certain parts of a phrase. Your Rock piece was condensed, and was progressing all the time.


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## Captainnumber36

Phil loves classical said:


> It's a new scale for you. Kind of Middle-Eastern sounding. I think a lot of your pieces could be greatly condensed for more impact. Say the first phrase/line, which is repeated 4 times at the beginning. Then the lines after don't add that much, until some time past the minute mark. Even new age and pop have larger chunks before they are repeated. It's like you're repeating sentences. It may be a way to buy time to think of something else, but if everything was more planned beforehand it could make a lot more impact. Try not repeating anything until you stated 3 different phrases or sentences, or change something if you repeat certain parts of a phrase. Your Rock piece was condensed, and was progressing all the time.


Thanks for the input! I felt this one was more condensed than tropical sunrise.


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## Captainnumber36

Back to composing, here is "Serenade":


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## Phil loves classical

Appreciate the tighter form. Try varying your left hand patterns. You're playing one note per beat continuously.


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## Captainnumber36

Phil loves classical said:


> Appreciate the tighter form. Try varying your left hand patterns. You're playing one note per beat continuously.


I'll do more of that in future works.


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## Captainnumber36

edited and deleted.


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## Captainnumber36




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## Captainnumber36




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## Captainnumber36




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