The composition started as an experimentation between a C chord and an Eb chord. Both chord are voiced related. They share a common note which is G, the fundamental of Eb is half a step from C‘s third and the fifth in Eb is a step behind the root of C.

The main idea was to walk through these two chords keeping the bass in C which corresponds to the root and sixth in both chords.

From there, the author plays around with a Caug chord. The goal here was to try out the augmented chord different types of modulation. First by taking it’s root half a step down to B. Moving to an E chord. Moving the bass a third down to obaint E’s root note.

Then Caug comes again to modulate to C/Ab by moving its third half a step down. The bass remains in C to keep the voicing movement to a minimum.

Finally Caug changes its augmented fifth half a step down to go to C and subsequently moves half a step up going to Am.

Then comes a second part where the harmony changes between Cma7 and Dma7, again the main note is C changing half a step up to C#. These changes move to a descending chord scale that culminates on Am. This section looks for a jazzy feeling.

A new idea comes to place returning to the Ab key presented a few bars before. This time the tempo changes to Lento. At this time of the piece the idea is to produce the feeling of a ballad. The bass moves by semitones between G and Ab.

Then section varies tempo to allegro bass continues moving by semitones and thirds till is finished in C/Ab.

Another section appears as Andante, basically three notes taken from another piece by the same author. Eb moving alternatively a third and a fourth.

The piece modulates to the key of Gm, it moves in arpeggio with a fourth included. The bass line is also an Gm (sus4) arpeggio varying in duration.

A final cadence takes place within triads with minimum voice movement. At this point the composer was trying to close in C on bar 90, but it was later notes that the key demanded a Gm as the final chord. It doesn’t reach this chord with a typical V-i cadence, it closes form a Cm to Gm. Somewhat reminiscent of a plagal cadence.

The composition takes inspiration form harmonic changes. It is not rhythmically challenging except maybe for the syncopation on the first section. It is worth mentioning that most of the piece was written using an external midi keyboard controller. It reduces the possibilities of execution. Most of the piece was created one hand at a time. It is way much better to improvise with a regular size 5 octave keyboard.

What comes to mind when listening to the piece?

The first part is somewhat funky. An unusual change in harmony in popular music. From there the idea is almost a technical exercise on augmented chord, by exploiting the triad modulation possibilities.

Then comes the jazzy section, it takes into account the major seventh chord, but it gives the piece certain relieve by contrasting with the augmented chord section.

The next section with Ab tries to bring a balladistic atmosphere. This sensation is mantained until it pauses and the Eb section breaks with this idea to introduce the Gm arpeggios which is the final section of the piece.

General Conclusion

The composition evolves nicely into different passages and changes in tempo and modulation to neighbor keys. This sort of suite is worth being explored in the future.

Another idea to pursue is to compose more rhythmically oriented. Trying to develop the player’s technical abilities in the instrument.