Fragments for violin and piano

Here is my Fragments for violin and piano
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The basis of this piece is the E phygian scale,
There is 6 "variations" on the scale each with a different interval added to the triad for example the 2nd variation uses the 2nd while the 3rd implies the 3rd ect..

Each theme repeats the number of times of variations it is, if that makes sense

I put a lot of work into this piece, tell me what you think comments, critisism welcome

Greets, virtualshock,

Nice work you've done there! I liked especially the part with the seconds (I'm such a sucker for seconds...)!

I felt it needed some more variation to maintain interest, as it was very long and slow.

Also, the violin part could have been a bit more imaginative. I understand you want to give a 'minimal' feel, but the part after m.95 could have worked perfectly.

You also have a nice score. But it has a lot of notational errors.

Overall, an enjoyable attempt!

Cheers!

Originally Posted by manossg

Greets, virtualshock,

Nice work you've done there! I liked especially the part with the seconds (I'm such a sucker for seconds...)!

I felt it needed some more variation to maintain interest, as it was very long and slow.

Also, the violin part could have been a bit more imaginative. I understand you want to give a 'minimal' feel, but the part after m.95 could have worked perfectly.

You also have a nice score. But it has a lot of notational errors.

Overall, an enjoyable attempt!

Cheers!

What specific Notation errors did you find, It would be great if I could fix them,

also what do you mean by:

Originally Posted by manossg

the part after m.95 could have worked perfectly.

Glad you enjoyed some of it, thanks for the review

1. m. 31, the dynamic on the barline.
2. m. 35, the dynamic referring to...???
3. m. 50. Simile colliding with the notes. Simile with what? Also, the violins play spiccato?

I could go on...

About the part after m. 95, it worked very good in raising interest again in the piece, but it could have occurred earlier!

if I might add: expression marks go above a staff for single-staff instruments, an either above or between the staves for grand-staff.

also, try to place dynamics and expressive indications AT the note they refer to, and not at the beginning of a measure, nor in a previous measure.

in the piano part, do NOT use the octava treble clef. Write 8ve or 8tva, and a dotted or dashed line indication up to what point there is transposition.

"mute" (con sord.) goes above the staff, and AT the first note of the violin, not two measures earlier.

I don't know if it is a weakness of the programme you are using, but your ties need to be considerably flatter.. they are way too curved.

Pedal indications in a piano part go BELOW the bottom staff of the grand staff.

measure 50, what's the "(4)" for? that can be confusing, it looks like it means "skip to measure 4".

measure 62, the piano chord has ties to the next measure... they are placed wrong.

the staff with measure 69, the time signature changes are placed too far from the barline, and are not even with each staff.

measure 94, tempo change? it goes on the next measure.



as you can see, there is actually a lot to clean up in the score.

if I might add: expression marks go above a staff for single-staff instruments, an either above or between the staves for grand-staff.

also, try to place dynamics and expressive indications AT the note they refer to, and not at the beginning of a measure, nor in a previous measure.

in the piano part, do NOT use the octava treble clef. Write 8ve or 8tva, and a dotted or dashed line indication up to what point there is transposition.

"mute" (con sord.) goes above the staff, and AT the first note of the violin, not two measures earlier.

I don't know if it is a weakness of the programme you are using, but your ties need to be considerably flatter.. they are way too curved.

Pedal indications in a piano part go BELOW the bottom staff of the grand staff.

measure 50, what's the "(4)" for? that can be confusing, it looks like it means "skip to measure 4".

measure 62, the piano chord has ties to the next measure... they are placed wrong.

the staff with measure 69, the time signature changes are placed too far from the barline, and are not even with each staff.

measure 94, tempo change? it goes on the next measure.



as you can see, there is actually a lot to clean up in the score.

I use noteworthy so as far as I know I cant change the slurs,
I will probably post a improved score tonight if I get teh chance.

Odd that you say not to use the octava clef, becuase I believe the dashes will be to long,

Mike told me that perhaps I should use the octave clef, so thats what I will stick with, unless you have any really good reasons not to

perhaps I should put some more variation in the violins lines, I will think about that...

the only reason I can give you is a notation standard reason: the piano does not use the "octava clef".

Also, it's easier for the pianist to notice the 8va dashes over the staff than it is to notice a little 8 on the the treble clef (it's just easier to read)...

Just give a little more space between the staffs for the 8va line and it should be fine.

Score updated,

The 8va dash is really ugly for some reason........

Thanks for all the help

Originally Posted by virtualshock

Score updated,

The 8va dash is really ugly for some reason........

Thanks for all the help

yes it IS ugly, and wrong... again

I'm afraid your programme has trouble with basic notation principles.

well, if you care to take the time, normally, the octava symbol should appear intact, the first time you need it, and it should end at the last barline of each system (yours, for some reason, seems to fly off the page). At the beginning of every subsequant system affected by the octava line, there should be the word "8va" in brackets.