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  • Topics

  • Posts

    • Giacomo925
      Piano Trio in C minor, first movement (draft)

      By Giacomo925 · Posted

      I forgot about that Impromptu, it's such a beautiful effect! Thank you for reminding me. Also I listened to the third movement of Brahms, such wonderful wonderful music, thank you so much for that. I thought I found the modulation to G major but then I lost it again 🙂 Looking forward to listening to the last movement now. SO I think I solved the modulation issue, though I wasn't able to do it as elegantly as you suggested, but rather I used two diminished 7th chords. As you pointed out, at 142 we are in Gb, so from there with the first dim 7th I go to f minor and form there with another 7th to c minor... The cello ascends and the piano right hand gives the harmony. Thanks, as usual, for all your super generous help, I think this might not be a draft anymore haha.
    • Henry Ng Tsz Kiu
      Minuet-scherzando

      By Henry Ng Tsz Kiu · Posted

      Hi @panta rei, As @Quinn St. Mark said maybe the pattern is a bit repetitive, but it is greatly compensated for your modulation, which is featured in Mike’s new video on modulations! The modulations are full of Schubertian wit and light heartedness. The F major modulation and ending is so witty. You cleverly induce us to think the piece would end in tonic major, but then that Bb in b.93 surprises us and a German sixth follows. It can well named a Moment Musical for me haha! Thx for sharing! Henry
    • Henry Ng Tsz Kiu
      Prelude No. 2

      By Henry Ng Tsz Kiu · Posted

      Hi @Cafebabe, This makes a good prelude in Bachian style! Although I will reduce the occurrence in the 1st beat when both the RH and LH hit the same note. A 3rd or 6th will sound richer! Thx for sharing! Henry
    • Henry Ng Tsz Kiu
      Piano Trio in C minor, first movement (draft)

      By Henry Ng Tsz Kiu · Posted

      Yea I think it’s quite hard to write a Piano Trio! I started a Piano Trio years ago but remained a draft… It’s the same as yours as it!s in C minor too! It’s such a masterpiece! The third movement is in E major since Brahms originally wanna write in C sharp minor instead of C minor for the Quartet, but later found the key difficult to write so he changed it to C minor. But there’s a passage in the 3rd movement where he modulates to C minor (another abrupt modulation which is the topic in @chopin latest video!) which kinds of remind audience the tonic key of the whole piece. Maybe B major is easier to read? They are more like enharmonic keys. Also string players tend to prefer sharp keys than flat keys. My Sextet in Gb major which has six flats will be hated by string players LoL! I really love the b.138-146 passage, but I agree that the modulation from Cb major to G major is a bit abrupt. I think it’s more in Gb major there. you can first modulate Gb major to b minor as dominant relation first, and then from b minor to G major which will be smoother! Actually I don’t think you overkill it and I think it’s very nice! Schubert uses a lot of major-minor contrast in his pieces and I think here the reintroduction of C minor makes the C major more beautiful through contrast. I remember in Schubert D899 no.1 codetta he did exactly the same thing! That piece is in C minor too! Thx for the update! Henry
    • Giacomo925
      Piano Trio in C minor, first movement (draft)

      By Giacomo925 · Posted

      @Henry Ng Tsz Kiu! Always a joy to read you, and yes, long time and in fact too long. I hope it was good busy but I also hope you'll have more time to be around 🙂 Thank you, of course means a lot... it's my first time to try and write a trio with piano, and I hear what you are saying. I tried to keep things balanced and I'm very glad to hear that you think it's OK! Thank you so much Henry! SO, I tried to incorporate your observations. First, I think you meants to write Brahms third piano quartet, right? I do not know that piece (I've listened to the first two movements yesterday in the car, and I started the third.. so lyrical, so wonderful!!). Question: Why do you think he modulates from eb min to B maj instead of Cb maj? I guess to make the "abrupt" modulation to G a bit less abrupt at least in terms of notation? or am I missing something? Anywho, I tried to do something like that. I loved it because before going back to c min I had the violin mention the secondary theme, but it felt lonely and kinda "hanging" since I only had two measures (what now is b. 135-137). Having more space now (b. 138-146) I let the cello continue the second theme phrase before moving to c minor. The Cb maj -> G maj is perhaps a bit too abrupt so I tried to mellow it putting the d in the bass, but perhaps it's not enough? Regardless, I think it sounds much better now than it did without the longer modulation, but ofc I think so since I wrote it 🙂 Second, I like the "serene" ending in C major, but I hear your point about the two modes struggling. So... I changed the mode of the end of transition to minor (b. 221-231), and then it felt natural to let the secondary theme come back in the piano in c minor as well. When the theme then goes to the violin, it opens up to C major, but the brief part in which the cello sings has a bit of a chiaroscuro in minor as well (b. 258). Of the final codette, I turned one in minor as well (overkill now?). I think the contrast of modalities enlivens the piece, Thank you! Finally, the piano difficult parts... yeah, it looks playable but difficult. I'll show a pianist friend and see what she has to say. I too think it's playable but it might be time consuming to learn. I might have a chance to have this performed, so I don't want to be an a-hole to the pianist 🙂  I've tried to simplify it but it didn't work so far... I'll keep trying.
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