A Short Impressionist Composition (For Piano)

Hey everybody, here's a short piece that I wrote for Piano (see attached for score + MP3). It uses some key harmonic and stylistic features found in impressionist music. I find that a lot of those elements translate really nicely to modern harmony, and absolutely have a place in a genre like math rock.

ON THE PIECE:

This composition was written using several of the tropes from French Avant-garde “Impressionism”. My main goal was to use as many stylistic features as possible while still producing a song with some musicality. Aesthetically, I tended to lean towards using features that would produce something that sounded consonant and pretty. As such, I tended to stray away from several of the more dissonant Impressionist features. 

Features Used 

1. 1)  Pentatonic Chords: Pentatonic chords are found in select spots within the song. For example, at mm. 5 and 16.
    
2. 2)  Modal Scales And Chords: Several lydian sounds are suggested in this piece. For example, F lydian is suggested in mm. 3. Also, the song suggests a C lydian sound in mm. 6 with the introduction of the note F#.
    
3. 3)  Added Or Omitted Note Chords: Add9 chords are found in mm. 8. Also omitted note chords can be found in mm. 4. In that section there’s a Dmi11/C sound that is missing the 5th (A).
    
4. 4)  Non-Functional Harmony: The harmony in this song is determined through voice leading, and there are no deliberate functional chord progressions. Another example of non-functional harmony occurs at the intersection of mm. 8 and 9 where I attempt to blur a cadence when the song returns to the original opening material.
    
5. 5)  Quintal Harmony: Parallel 5ths are in mm. 1. The sound is also inverted in the form of sus2 chords at mm. 4. Also, the sound of a 5th is consistently laid out in the lower voice using the notes C and G.
    
6. 6)  Quartal Harmony: These are used frequently. For example. In mm. 2, 3.
    
7. 7)  Unification Of Form Through Repetition Of A Melodic Idea Or Structure:
   Generally I used a lot of repetition in this song. This comes through the form of rhythm. For example, quarter notes are very common, along with dotted notes, and a small reoccurring 16th-note pick up. Also the repeated usage of two whole notes a 5th apart in the lower voices is a deliberate choice for unification. Harmonically, this song tries to stay within the confines of a similar harmonic language in order to tie things together aesthetically.
    
8. 8)  Parallelism: I used 4 parallel add9 chords at mm. 8.
    
9. 9)  Chords With Tritones - 7ths, 9ths, 11s, 13ths. Lydian type chords with an
   augmented 4th are found throughout the song. So too are 9ths and 11ths. For example, the song ends on a 6/9 chord.