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Hi John,
heard the second one now tree or four times. I will give my opinion (its an opinion only and i am not an important crititian) I think you have a level reached on composing wich is so good and i ve red in another posting of you, that you want to become better. My suggestion to this is to learn patience a bit. Your works are nice but you give not much time to them to grow. Its cool that you re making them so fast but at a point you cant get better with this kind of working. To work on a piece longer needs patience and can be boring after a while (me for example working allways on tree pieces at same time to awoid boring) After a while it can happen, that the piece grabs your mind and kills your ideas because the main theme has a too strong personality. This is the time to leave it for a while (go outside or not working on it for a day or two, maby work on other pieces) On this kind of working you will get much better in short time i promise. You will see the matematical aspects of your music, work sometimes from head, not from emotions, sometimes pure emotions and no head. To try reaching perfection is a hard thing wich can cause joy too. And you should try because in my opinion you are at a level at you could begin trying to do this. Imagine: A piece is allways constructed by musicnotes wich played after or at same time (chords) in one ore more tempos. So it sounds easy LOL BUT what if you try to find the best note after every note. Then you can bring your life with composing only one piece. If i compose on guitar for example its only just feeling how it sounds good. If i compose on computer, its completely something else. As i have no keyboard to play the notes in i give every note with a programm only on passages where ideas go out, i use guitar to give the constucting head a bit stuff. I have about 20 pieces on guitar wich will never come to notes because i am just too lasy. But working note after note gave me a new dimension. And with your impressionistic harmonic feel you will profite from it too i am shure. And about the supporting clarinette: Try more to let the instruments talk with each other. Sometimes the clarinette should say and piano listen (supporting or totally break) sometimes let the piano talk. Try to let them tell yes to each other, or try to let the say no or shout each other. See them sometimes like one person telling the hearer, sometimes two persons telling each other something. A very good example on this, wich you maby will like is Ravels trio for piano chello and violin. Has three or four sets i think, wonderfull piece. This will bring you much deeper in to your own musik.
Esim
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