Scribd Logo
Upload

Welcome to Scribd!

  • Come S.O.S

    Uploaded by

    Daniel Collins
    4 views3 pages
    Daniel Collins composed "Come S.O.S." by sticking to diatonic chords and shifting between different key centers or modes, as opposed to using accidentals, applied chords, or other complex harmonies. The piece is presented as a musical staff notation across multiple pages with tempo and expression markings.

    Original Description:

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    Daniel Collins composed "Come S.O.S." by sticking to diatonic chords and shifting between different key centers or modes, as opposed to using accidentals, applied chords, or other complex harmonies. The piece is presented as a musical staff notation across multiple pages with tempo and expression markings.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    4 views3 pages

    Come S.O.S

    Uploaded by

    Daniel Collins
    Daniel Collins composed "Come S.O.S." by sticking to diatonic chords and shifting between different key centers or modes, as opposed to using accidentals, applied chords, or other complex harmonies. The piece is presented as a musical staff notation across multiple pages with tempo and expression markings.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    of 3

    “Come S.O.S.

    Daniel Collins

    I followed Shostakovich’s harmonic style in this piece. As opposed to accidentals or

    applied chords or other complex harmonies, I stuck to using diatonic chords and shifting the key

    center across different modes.


    Come S.O.S.


        = 72 
    Daniel Collins

        
            

     
                                  
           


    6      
             
     

               
           
       


    10  
               
           
         
     
        
      
                         
     


    14      
               
         

                   
       


    18         
               
         
                  
              
            


    22                      

      
          

                           
           

    26        
    2

                   


    rall.

     
     
           
             


    31              
               
    a tempo

      

          
             
     


    37       
                           

                 


       
     


    43   

         

      
     

    You might also like