Great work! Very sombre, chromatic harmonic language that feels somewhere between Liszt's very late works and some of Scriabin's "middle period" stuff. Beautiful.
Interesting comparison. Scriabin is a huge influence for me. I also used to be a huge Liszt fan, but I don't really listen to his music anymore. Any specific Liszt piece that reminded you of my preludes?
@@Ivan_1791 For sure, Nuages Gris and La Lugubre Gondola. Some pieces from the third book of Annees de Pelerinage, in places perhaps. If you've fallen away from Liszt, I'd highly recommend exploring the Annees de Pelerinage and Harmonies Poetique e Religeuses sets. I feel like Liszt is addictive on a surface level for many pianists starting off, especially with gratuitously virtuosic pieces like many of his etudes, operatic arrangements, rhapsodies, etc., and then people feel like he is vapid after too hearing too much of that and lose interest. I think a lot of his other music is incredibly deep and profound. There's no denying the Sonata in b minor is a masterpiece. I'm quite fond of the Deux Legendes as well. Scriabin is one of my favourites too though, no denying his genius!
These are wonderfully dark pieces. And it's impressive to know you wrote these with pen and paper only, not at the piano. That's a challenge I need to try sometime; I usually always compose at the piano.
Thank you! Glad to hear you enjoyed them so much. Sure! I can send you the score using email. Either send me a message to ivanmusic1791@gmail.com or tell me your email.
Good luck with them! If you have patience and passion to improve them bit by bit you can do it. Let me know if you have any harmony doubts or if you want advice.
Estos preludios son en verdad muy interesantes; el inicio se prestan para contrapuntos, tanto del primero como del segundo. El segundo preludio me gusta mucho por la sonoridad con el bajo, se siente muy personal y también logra transmitir la desolación. Muy buen trabajo! o:
Gracias! Sí, el segundo en particular casi llega a ser un coral a cuatro voces. Hay veces que cuando no sé qué textura usar siempre opto por el coral a 4 voces pero con las armonías que vaya a usar en la obra.
Huh, very interesting conditions you put yourself under when writing this,,, very creative way of using the idea of colour blindness,,,, I like it a lot :), the harmony is very interesting :)
@@anled.composition I usually compose with a piano all the time. But when I want to challenge myself I use my harmony knowledge to know if the dissonances will work well and resolve properly. My advice is to know as much harmony theory as possible, combined with counterpoint of course. Also learn how to hear individual melodies in your mind or be able to sing tunes and write them down. That way you can get a good idea of how the tensions of a piece evolve and how you can use them to tell a "story". Also cadences are very important, even if your music isn't very tonal a sense of cadence helps a lot with form. My other advice would be to take an abstract idea (melodic, rhythmic, harmonic, anything) and use it to build most of the piece. Transform it in ways that offer variety while reminiscent of the original idea. Perhaps the original idea can be handy for the ending, like in my 1st prelude (it starts with a minor second Bb-A and ends with Eb-D). Maybe brainstorm about possible mutations of the idea and choose the most natural, shocking and original ones. And that's it I guess. Try to imagine the general abstract tensions and ideas you write down instead of trying to hear all the complex harmonies. It is more efficient, and you can always check on the piano later.
Thank you again for this beautiful piece, it's the nicest birthday present I ever got 🖤
You are welcome! Totally deserved gift. 😄
this is incredible! keep up the great work
Thank you very much!
Great work! Very sombre, chromatic harmonic language that feels somewhere between Liszt's very late works and some of Scriabin's "middle period" stuff. Beautiful.
Interesting comparison. Scriabin is a huge influence for me. I also used to be a huge Liszt fan, but I don't really listen to his music anymore. Any specific Liszt piece that reminded you of my preludes?
La lugubre gondola?
@@minamiakira3933 Could be. :)
@@Ivan_1791 For sure, Nuages Gris and La Lugubre Gondola. Some pieces from the third book of Annees de Pelerinage, in places perhaps. If you've fallen away from Liszt, I'd highly recommend exploring the Annees de Pelerinage and Harmonies Poetique e Religeuses sets. I feel like Liszt is addictive on a surface level for many pianists starting off, especially with gratuitously virtuosic pieces like many of his etudes, operatic arrangements, rhapsodies, etc., and then people feel like he is vapid after too hearing too much of that and lose interest. I think a lot of his other music is incredibly deep and profound. There's no denying the Sonata in b minor is a masterpiece. I'm quite fond of the Deux Legendes as well.
Scriabin is one of my favourites too though, no denying his genius!
@@minamiakira3933 yep, nice! Nuages Gris and parts of some pieces from the third book of Annees de Pelerinage too.
👏🏻👏🏻
Beautiful
I especially love how much care and intentionality you put into each voice, both in composition and in performance. Nice job!
Thank you so much. Indeed, the second prelude is almost a romantic chorale, so I made sure the counterpoint was correct.
What a beautifull pieces! I love you work with harmony and polyphony!
Thank you! The second one is like a very chromatic chorale pretty much. :) Any favourite chord you picked from any of the pieces?
This has really interesting harmonies! Really really good
Thank you! Hopefully they can inspire other pieces from other people.
@@Ivan_1791 sure!
dark and deep
These are wonderfully dark pieces. And it's impressive to know you wrote these with pen and paper only, not at the piano. That's a challenge I need to try sometime; I usually always compose at the piano.
Thank you. Yes, I encourage you to try that, I am also very dependant on the piano most of the time.
Beautiful!
🙏🏻
"...like being in the depths of a forgotten castle..." I agree. Very interesting concept.
Thank you! 😄
Ayo these are absolute FIRE DAWG!!!! Great stuff,very well-put together music with a lot of tension in it🤙.Where can i find the sheet music?
Thank you! Glad to hear you enjoyed them so much.
Sure! I can send you the score using email. Either send me a message to ivanmusic1791@gmail.com or tell me your email.
you should listen to Toru Takemitsu’s Litany
I didn't know that piece, thank you for the recommendation! It reminds me a lot of Obukhov.
Great work, bravo.
Thank you. 🙏🏻
Beautiful piece :)
Thanks. ^^
Hypnotic.
I agree!
I'm currently writing a piece in a very similar style to this, which isn't my usual style at all
I hope it will turn out as good as these pieces
Good luck with them! If you have patience and passion to improve them bit by bit you can do it.
Let me know if you have any harmony doubts or if you want advice.
Estos preludios son en verdad muy interesantes; el inicio se prestan para contrapuntos, tanto del primero como del segundo. El segundo preludio me gusta mucho por la sonoridad con el bajo, se siente muy personal y también logra transmitir la desolación. Muy buen trabajo! o:
Gracias! Sí, el segundo en particular casi llega a ser un coral a cuatro voces. Hay veces que cuando no sé qué textura usar siempre opto por el coral a 4 voces pero con las armonías que vaya a usar en la obra.
Very good work my friend, congrats❤
Thank you man! 😁
Qué evolución!
Le hago la competencia a los Pokémon. ;)
Huh, very interesting conditions you put yourself under when writing this,,, very creative way of using the idea of colour blindness,,,, I like it a lot :), the harmony is very interesting :)
Thank you! Yes, it was a bit of a coincidence at first and then I did it consciously.
Damn, that's pretty good
Thanks. 😄
Is the beginning of the second prelude a reference to the opening of Tristan und Isolde? Very good pieces!
Yes, it could be seen that way because you have the same melodic figure that goes to an augmented 6th. And thank you!
Very beautiful. I heard some inspiration from Scriabin here. Am I right?
Thank you! Yes, Scriabin is a huge aesthetic inspiration.
Great work, do you wish to share any tips concerning audiation ?
Thank you. And do you mean me sharing some tips for composing without a piano?
@@Ivan_1791 Yes, this is what I meant :)
@@anled.composition I usually compose with a piano all the time. But when I want to challenge myself I use my harmony knowledge to know if the dissonances will work well and resolve properly.
My advice is to know as much harmony theory as possible, combined with counterpoint of course. Also learn how to hear individual melodies in your mind or be able to sing tunes and write them down. That way you can get a good idea of how the tensions of a piece evolve and how you can use them to tell a "story". Also cadences are very important, even if your music isn't very tonal a sense of cadence helps a lot with form.
My other advice would be to take an abstract idea (melodic, rhythmic, harmonic, anything) and use it to build most of the piece. Transform it in ways that offer variety while reminiscent of the original idea. Perhaps the original idea can be handy for the ending, like in my 1st prelude (it starts with a minor second Bb-A and ends with Eb-D). Maybe brainstorm about possible mutations of the idea and choose the most natural, shocking and original ones.
And that's it I guess. Try to imagine the general abstract tensions and ideas you write down instead of trying to hear all the complex harmonies. It is more efficient, and you can always check on the piano later.
@@Ivan_1791 Thanks for taking time to write this detailed answer, great advices !
😟