Character Piece I

Run through in class went well. As a sketch, I find it to be adequate. As a composition, I still have a lot of work to do. Class commented that the character stayed consistent. Dr. Ross commented at length about the piece's major flaw, the unimaginative, uninspired, rhythm of the violin part. That was also the element which I hated the most. Great starting points given, in terms of freeing up the rhythm, the most interesting I found was working with figures such as duplets or quintuplets, but not in small rhythmic bursts (like 8th/16th notes) but across longer note values (half/whole notes).
Conceptually the final version of this piece will remain more or less the same, but the execution is going to be undergoing some very heavy revisions.

Chord progression

(written by hand 2 weeks ago, i kept forgetting to write it on the blog)

Played through the 13 chords I had written in class today, feedback on rise and fall of harmonic tension mirrored my own. The peak was exactly where I had intended it, which was nice to hear. One person had mentioned, and several others agreed, that many of the chords have a very similar character, specifically chords 6-10. I was a little surprised that only chords 6-10 were mentioned, as there only 6 base sonorities:

sonority 1 - chords 1, 13
sonority 2 - chords 2, 3, 9
sonority 3 - chords 4, 5, 6
sonority 4 - chords 6, 7
sonority 5 - chords 7, 8
sonority 6 - chords 4, 11, 12

My intent in taking such consideration into the interval content is to create a sense of unity which is much more coherent than my previous works. Ignoring transpositions, there really isn't very much to work with, which I feel will be very beneficial in trying to develop my compositional technique.