I have listened; it is not enough to express a comprehensive opinion, but as I often do, I still perceive the "sickness" in this piece (those who know me a little know that with this term I mean to pronounce myself favorably regarding the sensations a piece gives me, or even the potential that I foresee in my opinion). There are rhythmic ideas that work well and certain harmonic solutions are also pleasant and not predictable. Of course, a real performance would add that human and personal touch which (as much as we may be used to imagining realistic sounds and a true performance when listening to a midi file or otherwise a reproduction with sampled sounds) would certainly allow the piece to be perceived in a different way.
@Piccinesco Thank you. To tell the truth, this time I feared I had strayed a bit from my style to accommodate performance possibilities, but evidently something has remained.
@Faria Effectively, the first embellishment is made explicit and I have set it as an indication for the subsequent ones. However, it is true that they can still be performed in different ways. In fact, I would like to know the solutions you were thinking of, then I will eventually make the subsequent ones explicit as well. If you also feel like spending a little time telling me which harmonic solutions you would have adopted instead...
A questo proposito, in attesa dell'esecuzione vera e propria, posso mettere il playback virtuale, perché capisco che magari non tutti hanno tempo e voglia di suonarselo . Sentiamo se per gli altri va bene....
Thank you Bianca, could you say a few words about the piece. At least the form and the parts attributable to the original melody... even if "transfigured"
Thanks Bianca, could you say a few words about the piece? At least regarding the form and the parts traceable to the original melody... even if "transfigured"
I'll try.
The piece has a very simple structure: the title is Circolo (Circle), because it intends to traverse the circle of fifths (almost entirely). Each segment reflects the previous one but with a different imprint: more melodic, more harmonic, modal, almost contrapuntal at times. In the middle, there is an attempt to make even very different accents coexist (a bit like, in my opinion, what also happens in Fauré), from baroque to classical up to blues. I don't know how successful it was, though.
As far as the theme is concerned, I am attaching this track. As you can see from the melodic line, it has become almost a harmonic line, whose development follows the entire piece.
If you also feel like wasting a little bit of time and telling me which harmonic solutions you would have adopted as an alternative...
Simply, sometimes I "bite" with the whole tone, sometimes with the semitone; try and choose based on your taste. Surely an interpreter will ask themselves the question and will probably relate it to the key alterations.
Bianca wrote:
@Faria
If you also feel like wasting a little bit of time and telling me which harmonic solutions you would have adopted as an alternative...
It is not a question of time.
Dlet's just say that while playing, I have a strong sensation of weakness in the harmonic connections, but I was hinting at taste because it seems systematic and therefore may have been chosen intentionally. Listening to the playback, it is less annoying, but still, by reviewing the connections, the piece could probably benefit.
The piece has a very simple structure: the title is Circolo (Circle), because it intends to follow the circle of fifths (almost entirely). Each segment reflects the previous one but with a different imprint: more melodic, more harmonic, modal, almost contrapuntal at times. In the middle, I wanted to make very different accents coexist (a bit like, in my opinion, what happens in Fauré), from Baroque to Classical up to Blues. I don't know how successful I was, though.
As far as the theme is concerned, I am attaching this track. As you can see from the melodic line, it has become almost a harmonic line, whose development follows the entire piece.
Simply sometimes I "bite" with the whole tone and sometimes with the semitone, try and choose based on your taste. Surely an interpreter will ask themselves the question and will probably relate it to the accidentals in the key.
It is not a matter of time.
Diciamo che suonando ho una forte sensazione di debolezza dei collegamenti armonici, ma facevo cenno al gusto perchè sembra sistematico per cui può essere stato scelto. Ascoltanto il play back è meno fastidioso, ma comunque rivedendo i collegamenti probabilmente ne può beneficiare il pezzo.
my choice was as you see it written, that is with the mordent without accidentals (if someone needs me to write out the notes in full, there's no problem): from an interpretative point of view they should be performed diatonically (precisely because there are no accidentals) - or am I wrong? but what I wanted to understand is at which points you would have placed the accidentals.
The harmonic connections are studied that way and as you can see they repeat schematically (I have also marked the degrees of the arrival keys so as not to leave any doubt). In particular, in which passages do you find them annoying?
As far as I am concerned, I will have to record it myself, so the performance will take a little more time. As for the sheet music, there is no problem.
As far as I am concerned, I will have to record it myself (with the usual consequences for those listening), so the performance will take a bit more time. As for the sheet music, there is no problem.
I know, I know, give me a few days, I'm serious, I can record it myself, but it has to be at least somewhat decent. Playback wouldn't be the way to go because right now I have no way of using a piano sound library properly, and we know how MIDI is, anyway it allows for greater control over agogics. I am quite tired, but I will try not to spend too much time on it.
Tomorrow perhaps I will publish the audio file, I am recording it today, but I must change something otherwise it seems stupider than it is, my goodness what a feeling.
Today I listened to Bianca's piece again, this time with headphones. I must say that especially in the central part, and almost in the finale, there are some pleasant solutions, especially rhythmically, so a real performance would benefit the piece. I was also able to compare it with mine, and even if the writer might be "biased," I say that her work seems better to me, particularly from a rhythmic and structural standpoint; I don't say this because I am seeking consensus for mine, but because, critically speaking, as far as I am concerned, I do not consider myself satisfied regardless, and having made the comparison, I am of the same opinion.
To me, it gives the impression of having little emphasis; something is missing. Probably more than one point needs to be modified, especially rhythmically to give more flow to the whole thing, and also to decrease the length of the introduction a bit.
yes, in fact, I wrote the piece specifically for a forum member with whom I have made an agreement
Ok, initially I had thought of a different kind of suggestion because this hypothesis had been proposed several times during the workshops; the explicit reference to Red, however, had led me to imagine something else. Better this way, then let's wait for the performance
