This is the corrected version of Assignment 4:
In addition to that, I am including a rationale behind why certain elements have been corrected:
In general, I found it very hard to restructure some parts of the piece in relation to the feedback. This is mostly because of the source material – Monet’s Waterlilies, which to me are very abstract and meditative. Along these lines, the idea of adding melodic invention upon the arpeggio patterns that to me really portray the metaphysical embodied in the paintings somehow seemed to distance my prelude from them, which is also something very true of the harmony – I believe the loosing of direction is something quite purposeful, since when I observed the paintings, I would always feel my gaze wandering as I contemplate upon the brushstrokes. Nonetheless, once I actually started to restructure the work, I believe the rewriting helped the piece maintain more interest. I have mostly focused on the melodic aspect – the changes occur in bars 2, 4-5, 7-9, 11, 13-14 of section 1, then bars 16-21, 24 and 27 in section 2, while in the return of section 1a, bars 31-32 have been modified. I really found it the hardest to reframe bars 17-21, as I planned it as a more transitional section based on sequences. Generally, I consider this part to now be the weakest in the whole piece.