Short piece for bassoon and piano.

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He copied the link while editing the video...

This is the correct link: http://www.youtube.com/watch?v=fe4u8V4f4Z0

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Sorry, I am very sorry for the inconvenience, but I see that you have done me a great favor by linking the correct address. I don't understand what happened, but many thanks to Yannick (and the friend who had already reported the mess to me privately)... Of course, having people struggle to listen to you is not a great start, but I hope you haven't lost the desire to listen to the track. Thank you all for your attention.

Very beautiful, sweet and cantabile as expected. One breathes a strong, well-decontextualized baroque contamination, perhaps the result of the use of progressions (but well-dosed); I don't know if it is a choice, but in the score I would add dynamic, articulation, and agogic markings... at least those you used in the playback... also because I don't think the piece can be traced back to a specific performance practice... the risk is that in case of a real performance, you might have to rework it; since you have already done the work for the playback... why not refine the score?

Anyway, compliments!

PS

Just one note, the harmonic solution between 16 and 18 seconds seems a bit too strong in reference to the rest of the piece. Was it intentional?

Thank you, Abate Faria.

You are right about the dynamic markings; it's just that I had some doubts about the piece and I got caught up in the rush to use it as a "study exercise" and to share it here.

As for the harmonic solution between the 7th and 8th measures, I let myself be guided by the melody after inserting that E# on the piano. On paper, that dissonance in the first measure between E# and E natural is wrong, but to my ear it all sounds right and I don't understand why; perhaps the melody was calling for a harmonic effect that I didn't know how to render well: keeping the E#, which I prepared in the previous measure, I couldn't find a different bass line. That E# realizes a V of V and allows me to go to E major in the 9th measure, but I can't understand the harmonic function of the melody (with that A natural...). I think I messed myself up with a sixth chord and I don't remember how it works. Besides, a couple of months ago, my Piston was stolen from my car trunk...

I liked it too, really singable! I also feel a bit of gospel in it, in my opinion...

Aside from the reports made by Abate, I refer back to his discussion on dynamics to point out that with samples (very beautiful, by the way, which ones did you use?) the instrument always sounds good in all registers and in any dynamic, but live it may not be the same. For this reason too, it wouldn't be bad to read your "true" intentions.

Another thing... even if we are talking about a solo Bassoon, I don't know how convenient (in terms of appeal for a performer) it is to choose a key with so many accidentals... after all, with a slight transposition up or down - in this case it would result in being (perhaps) even softer - the reading would be greatly simplified... I'm not talking about intonation... but.... every little bit helps

I agree with Micamahler anyway

Croma seems pleasant to me, do you feel satisfied and do you see any room for improvement? If so, where? (Aside from the point identified by Faria)

I like it very much too. Pleasant and fluid, those are the first adjectives that come to mind.

If I were to offer a critique, but an absolutely constructive one, I would say this: the piano writing, in my opinion, sacrifices some of its expressive potential. The long notes and a timbral range substantially anchored to the middle register do not fully do honor to what the piano could have said more of, while still remaining in style. In my opinion, it wouldn't have been bad to play around with the registers a bit, even if only to evoke a polyphony between different solo instruments or even between different sections (like concertino-tutti).

As it is, I would see the piano writing as perfect for an harmonium, which is an instrument that has its own unique character.

And by doing so, the long notes would acquire more meaning and a more intense flavor, perhaps by adding some more expressive indications regarding the pedals for the performer.

And anyway, I repeat that it is a pleasant piece, that works and that implies... "that the author will make it, even if they are struggling and this year they will write 4-5 little symphonies!!!"

....

Sorry... it's the bullshit of 6:49 PM!

::-p

Really beautiful!

Great peace and tranquility without being boring, very musical!

I would like to know if you wrote it following a logical thread or if it is a free wandering.

To me, it seems that in the 1st part there are some somewhat strong dissonances; not that they are annoying, but they make your ears perk up a bit and create an expectation that is then lost because after a while the discourse relaxes even more and becomes devoid of harshness. Perhaps this is a small inconsistency to reflect on (assuming that is the case), anyway as already said it is a beautiful, flowing and pleasant piece.

Frank wrote:

Croma seems pleasant to me, do you feel satisfied and do you feel there are margins for improvement? If so, where? (Aside from the point identified by Faria)

No, I am not very satisfied with it. The piece started from a very emotional suggestion (a nightmare, in fact) which I then traced back, to make the inspiration understandable, to the idea of the death of Argos (Odysseus' dog). In this free wandering of emotions translated into music, the reasons why I am not satisfied are:

1) The piece does not end in the home key, which accentuates the impression of a substantial formal discontinuity.

2) The central theme is effective in itself, but stylistically it is very distant from the initial section; for example, I could have supported this second section with arpeggios, rather than insisting on maintaining "Baroque" criteria.

3) In the central section, I also find that the piano's progression has a "scholastic" rhythm and is much less free compared to the "dialogic" style enunciated in the first section.

4) I should have maintained coherence in the number of voices used, given the type of writing; this would also facilitate any eventual attempt at arrangement for different ensembles (bassoon and strings, for example).

On the other hand, I am satisfied with the piece because:

1) The bassoon's melodic line, for much of the piece, is sufficiently autonomous to convey even the idea of its harmonic function: with more courage, I think I could have attempted writing for a solo instrument (it was my original intention).

2) It faithfully reflects the state of mind that inspired it, adhering to a narrative thread.

3) The avoided cadence at the end to represent abandonment to death seems particularly well-conceived to me.

4) The first section is sufficiently original; it loses a bit in the middle one, which is more catchy and perhaps more banal, but places a few surprises in the final section. In short, I think it manages to keep attention engaged.

That said, as it is, I would not have the courage to propose it to serious musicians, in the flesh.

P.S. Regarding the chosen key, I could make everything easier by lowering it by a semitone, but consulting Adler online, I stumbled upon a couple of trills that would result in being more difficult (it seems). I will review the matter, but I did not want to lower it too much so as not to lose the strained timbre of the bassoon in its extreme range.

Gerardo wrote:

Aside from the reports made by Abate, I refer back to his discussion on dynamics to point out that with samples (very beautiful, by the way, which ones did you use?) the instrument always sounds good in all registers and in any dynamic, but live it may not be the same.

Yes, I've thought about it, even though this type of sample is created "one by note" and, for example, if you play a trill in the low register of the bassoon, it reproduces its difficulty to play quite faithfully (even the trills are sampled). They are both East West: Orchestra for the bassoon and Quantum Leap Pianos for the Bösendorfer. The problem I had was regulating the volumes of the individual articulations, because the default ones are not realistic.

CromaDiBrera wrote:

the reasons why I am not satisfied are:

1) The piece does not end in the home key, which accentuates the impression of a substantial formal discontinuity.

On the other hand, I am satisfied with the piece because:

4) The first section is sufficiently original; it loses a bit in the middle one, which is more catchy and perhaps more banal,

1- in my opinion it is not a problem: precisely because there is no defined formal structure, there isn't necessarily a felt need for the "return home."

In fact, at a conceptual level, it is even better: one does not return from death

4- that was exactly what I was noticing, although I wouldn't say banal but simple, which is very different, but the break is somewhat perceptible.

@Croma

Aside from the suggestions of others, I always find it useful to also pair it with self-analysis because, on one hand, it allows us to develop an autonomy of judgment (and know what else to do) and, on the other hand, to compare our own perception of the piece with what comes from the listeners.

The fact is that, in any case, we must be satisfied ourselves first. An example of a different vision is the key of the piece; Gerardo would have looked for more softness given the singability and sweetness you demonstrated... you, on the other hand, had a "secret" program to honor... the fact is that the listener does not know it and, in any case, the program cannot "mediate" the meaning of the music.

Like others, I perceived this too sharp opposition between the beginning and the end. In my opinion, even trying to mask the structure of some progressions a little would have done its part.

Following in the footsteps of ScalaQuaranta, I will add that I would have looked for a minimum of dialogue between the pf [piano] and the fg [flute]... although it is true that in several Schubert Lieder the pf just accompanies, there is always an exchange of roles in the duo.

Not that all music must be written with the same technique... but in effect, the pf has many resources.

From my point of view, however, it maintains its pleasantness.

CromaDiBrera wrote:

Opinions...?

I liked it

In my opinion, anyone who publishes their own track can expect at least three types of opinions (besides their own): that of a general audience, that of a critic (more or less professional), and that of others who, like them, write and publish music. From my point of view, the most relevant one (and by far, in the sense that it is the one I would personally take most into account) is that of the general audience. The other types of opinions are certainly useful, but if the first one is good, the others are somewhat secondary.

I believe your piece could also be very successful with a general audience, which perhaps is not very present on a thematic forum.

I am an amateur student..... I must say that I didn't dislike the piece... quite the opposite

Bianca wrote:

I enjoyed it

In my opinion, anyone who publishes their own piece can expect at least three types of opinions (besides their own): that of a general audience, that of a critic (more or less professional), and that of others who, like them, write and publish music. From my point of view, the most relevant one (and by far, in the sense that it is the one I would personally take most into account) is that of the general audience. The other types of opinions are certainly useful, but if the first is good, the others are somewhat secondary.

I believe your piece could also be very successful with a general audience, which perhaps is not very present on a thematic forum.

Thank you Bianca, your considerations seem very important to me. You are right, perhaps I am overthinking things, because the important thing is to make music that can say something even to what you call the "general audience." In fact, all in all, perhaps this should be the priority, before "squaring everything away" from a technical profile. Technique should serve to better reach people's hearts, not to win some prize in composition contests. It's just that I wish I had been better at saying what I wanted to say, that's all...

P.S. I take this opportunity to compliment you on choosing the icon of the great Isabella Leonarda, whom I adore.

antares86 wrote:

io sono uno studente dilettante..... devo dire che il brano non mi è dispiaciuto... tutt'altro

Thanks!