Starting from a melody - 2014

I should arrive this evening... I have a bit of "backlog"

@Piccinesco

It seemed very long to me despite the timing not being extremely high.

Hi everyone !!! Every now and then I stop by to say hello ...

I had the pleasure of listening to Frank's piece with the score, beautiful! Simple, linear writing, yet at the same time full-bodied and tasteful. I also really liked how you organized the reprise of the A section, it was awesome!

Maybe I'm talking nonsense, but to me it seems worthy of Fauré

Bravo, another hit !!!

AleGozzo wrote:

Hi everyone !!! Every now and then I stop by to say hello ...

Hi Ale, when will we start listening to something of yours again?

@AleGozzo

Hi, good to see you.

In the meantime, thank you; it is simple since I designed it for young pianists. I don't know if you know the original, let me know if you prefer it to mine

PS

In effect, Faria has hit a sore spot

Alessandro, I thought you had disappeared, it's been months since you last wrote, I was thinking about it a few days ago.

I tried playing the first 30 bars of Frank's romance, and the impression is good; there are some passages that I like more than others, I'll tell you which ones later. I don't know how it all sounds yet, because I have to try it since it isn't impossible.

Piccinesco wrote:

there are some passages that I like more than others

Tastes are tastes; for example, I don't 100% like the chord on beat 27, not because it is wrong, but because that situation is what sounds the least "refined" to my ear of all. From my point of view, it is the solution that allowed me to safeguard many aspects: executability, intelligibility, simplicity, etc. ... and for my taste (someone else might like it) ... peace, amen (1 bar out of 60 is fine)

Another thing I need to learn how to do is "taking away," synthesizing instead of inserting almost everything I would like to write. That point (number 27) is part of the introduction; I should modify and reduce it in any case. There is something, much so I would say, that isn't right. It comes across as fragmented and I want to resolve this issue. Only the central part from measure 39 to 69 (reviewing a few of them), and from 73 to 79 I feel it is a bit more regular and fluid. The rest needs to be redone. I inserted the first measures after having prepared the part from measure 39 to 69; in practice, I had thought about looking for solutions by contrasting the main melody with the initial one, but the problem arose of modifying one of the two—I mean in such a way as to make it unrecognizable, changing its profile—and so, at least for the moment, I have left things as they are.

Piccinesco wrote:

That point (number 27) is part of the introduction, I should modify and reduce it in any case

ehm, ehm.

I was referring to my piece

Sorry, actually that 1 out of 60 seemed strange to me, and then you replied to my post, I'm awake, you know. Yes, I listened to that part again; what do you think about replacing (without changing the arrangement) the notes on the lower staff—sixteenth notes fa#_mib on the first quarter and just below middle C, in ascending order sib_do_sol—on the upper staff?

But who is the author of the topic?

Piccinesco wrote:

But who is the author of the theme?

Ale says Faurè, given the initial discussion... it's almost certain that it is his; I think the original will arrive later as usual.

Uhm, so I'll wait and let's hear (for those who don't know it) how the original is. I'll see if I can make a second version in the meantime.

Piccinesco wrote:

Sorry, actually that 1 in 60 seemed strange to me, and besides you replied to my post, I'm awake, you know. Yes, I listened to that part again; what do you think about replacing (without changing the arrangement) the notes on the lower staff—sixteenth notes F#_Eb on the first quarter and just below middle C, in ascending order Bb_C_G—with the notes on the upper staff?

At the level of the left hand, something similar has already happened at measure 25, too early to repeat it

@Gassy

To me (sympathetically, of course), it made me think of a funeral, in the sense that reading what you wrote, and understanding that one can get stuck and unable to move forward, combined with a very slow execution and these harmonizations, it made me think of the "funeral" of one's own intentions, when one cannot escape a situation and the music (I was talking about this with Frank) inevitably suffers as a result (but this happens in every condition, even the most joyful one, with different results, I mean in terms of choices).

@Gassy

I'll add, though it's a fairly obvious impression, that even if it lasts very little time, if you manage to write 4 more bars, with some adjustments you could derive a mini chorale from it; the sonorities make me think of this.

Frank wrote:

Regarding the left hand, something similar has already happened at measure 25, too early to repeat

Frank wrote:

Regarding the left hand, something similar has already happened at measure 25, too early to repeat

See where my haste leads me!?

Piccinesco wrote:

Today I listened to Bianca's piece again, this time with headphones. I must say that especially in the central part, and almost at the end, 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.

Thank you Piccinesco, I believe you don't need to seek consensus, at least as far as I am concerned. I like your piece very much. I have listened to it several times and I don't find any dull moments at all. If one thinks they need to improve something, it is because they believe there is room for improvement, and that is only positive. Giving suggestions is always easy; giving good and appropriate ones is a bit less so. What I can tell you is that I believe synthesis is a quality whose overvaluation is characteristic of our times. It is not a principle that should be applied everywhere and in every case. Perhaps sooner or later the human brain will get used to listening to music in compressed format (and maybe they will call it zipmusik), but I have not yet reached that stage.

Ah ah "zipmusik", that's a good one... White, can I resell it?

Anyway Webern has already thought of it, the genre is called aphoristic

The impressions others have are always strange; on one hand, there is the approach to composition where, for example, despite everyone starting from the same theme, the result will always be different, and that is the beauty of it; on the other hand, there is the fact that sensations are different for everyone, and it remains a mystery why someone might like something that doesn't convince us, which is also beautiful (and strange).

Better zip than rar then.