We were talking about Diesel, remember? I liked the fact that a word was found anyway to summarize the fact that the introduction isn't all that interesting, also because it is 8 bars of minimum movement. Just as it is in the first 8 bars of Brahms' beginning. Of course they aren't the same chords (and I believe so). However, an indirect judgment regarding the 8 bars of Brahms emerged.
Could it be that, if you want, the fourth symphony perhaps doesn't start on those 8 bars? You probably haven't thought about it, but before there are 3 other movements...
Could it be that, as was pointed out, it is not monotimbric and there is a trill creating movement already after the very first bars?
Could it be that the harmonic interest is superior?
No indirect judgment; eventually open a topic where the fourth symphony is discussed... and you will see that the opinions will be about that one
E
Eagle
Member
Reply 82 by Eagle
Posts
264
One very last thing, the piano reduction of Turandot is harder than the difficult pieces by Berg... the orchestration smooths out all the edges and something very pleasant becomes almost unlistenable.
An example to help you understand that a reduction does not necessarily yield the desired result, and clearly that is not your case; yours is not a reduction of Brahms' fourth, it has taken an homorhythmic configuration common to many compositions and adapted it to your purpose.
One very last thing, the piano reduction of Turandot is harder than Berg's difficult pieces... the orchestration smooths out all the edges and something very pleasant becomes almost unlistenable.
An example to help you understand that a reduction does not necessarily yield the desired result—and clearly that is not your case—your work is not a reduction of Brahms' fourth; it has taken an homorhythmic configuration common to many compositions and adapted it to your purpose.
This really interests me.
Are you saying that the homorhythmic configuration is common to many compositions? For example, which ones?
E
Eagle
Member
Reply 84 by Eagle
Posts
264
raffaeleb wrote:
This really interests me.
Are you saying that the homorhythmic configuration is common to so many compositions? For example, which ones?
Dovresti cercare, ogni compositore ha 8 battute omoritmiche da sfoggiare...basta già prendere Stravinsky.
You should look, every composer has 8 homorhythmic bars to show off... just take Stravinsky, for example.
Open an ad hoc post...
So from what I understand, saying homorhythmic and ostinato is the same thing... Ah well then there are really many... starting with Verdi's La donna è mobile etc...
Sorry, I misunderstood a little. My limitation is that I don't know the terminology deeply. I have just taken a look at the encyclopedia and I understood what you were referring to.
So with
"you took an isorhythmic configuration common to many compositions and adapted it to your purpose."
You are only referring to the first 8 measures
But after that, I [wonder] if you noticed: I tried to mimic the counterpoint lines (accompaniment) by changing the harmony and melody. I want to clarify that it is an exercise and it is the first variation I have ever written.
E
Eagle
Member
Reply 88 by Eagle
Posts
264
raffaeleb wrote:
I would like to reiterate that it is an exercise and it is the first variation I have ever written.
