Hello M.G.,
Wow, this piece is really developing. Your last version stopped around measure 25. More and more things are happening as it goes on. Tension is building. The whole note scale is relentless in holding back resolution.
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I wonder if a couple of places your ear heard a resting, a grounding, was in measures 6 and 8?<!-/quote-!><hr size=0></blockquote>No, those seem to be rhythmic resting places, but not harmonic. Actually, I don't hear anything like a resolution in harmony. Such might be impossible staying purely in a whole not scale, because the resultant augmented 4th chord is the least resolving of any chord in the 12-tone universe.
I think what my ears were hearing were not resolutions in harmonies but, rather, shift in tonal centers. Here's where I heard some:
- last half note of measure 3
- last half note of measure 11
- first beat of measure 12 (the last half note of measure 11 seemed like a very brief harmony modulation that immediately returned at the beginning of measure 12)
- first beat of 20 (which you recognize with a key signature change)
- at the 2nd beat of measure 28, everything changes, with a chromatic progression of whole tone chords (augment 4th chords)-- this was a smart idea to build up even more interest
It's clear that your using your head, as well as your emotions, in composing this piece. Many listeners will probably find the piece too cerebral. But I would offer this piece to would-be listeners as a challenge, to listen outside of the bounds of normally expected harmony and focus on what else is happening in the music. A lot is happening in the music.
By the way, can you play this on the piano?! It's playable, but probably only by a virtuoso pianist. The left-hand leaves are killers for the pianist (but effective compositionally).
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When are you going to post the piano suite?<!-/quote-!><hr size=0></blockquote>When am I ever going to get around to entering any of my past compositions into Composer, I ask myself.
Cheers
-- Mark