I. Introduction

This is the first in a series of four rhapsodic pieces; a extraneous term used by me to describe music that usually seems to have nothing to do with itself.

The Introduction is logically the first, and it serves to open up the ears of the listener to the full sound of the piano in a concert setting. This particular piece took about a week to fully develop. I don't have much else to say, and I hope the music will explain more.

Introduction - A large piece in sound, not length.
MP3
PDF
MIDI

Btw, the PDF isn't blank, you have to scroll down a little bit.

PS. The second piece is done. I need to consolidate and clean up the manuscript though, and it will be posted in a couple of days.

Nice work. I have an issue though. It's not atonal. It's not that dissonant. Well, it is, if you consider Debussy to be dissonant... so why make an excuse for it in your score? I'd love to hear this performed - the electronic generation leaves out a lot of humanity.

But you have a good sense of motion and harmony.

One last question... why have the tuplets in that one measure only? You could have entirely done without them. They seem to be a gesture just because you thought it was cool, and no other reason.

Very enjoyable, I like how you use short motives from the ''Grecian'' rhapsody. If I was to sum it up in two words, which is what I will do, I would call it ''pleasantly grating''.

Chris, I try not to make excuses. I try not to compose for show.

But I also try not to make mistakes, and Lord knows how bad I'm doing at that. The tuplets are there to keep time, while the right hand executes the cadenza figure at its own pace. I haven't written the introduction in order to pass off all my shortcomings as intentional, merely to explain my MO in composing may not agree with yours. If it sounds good to you, then I thank you.

Actually, "Greecian" is the second piece in this set, Letehn. I don't think pieces in a histrionic group such as this Rhapsody suite should be totally isolated from each other, so I hope you find something in common between the four of them.

mm, yeah. I realized my review came off harsher than it was meant to. Sorry about that.

Coda: I liked how the overall mood goes from a distressed mood, to a more freely flowing lighter mood. One thing that got my attention was transitions used around (2:03), when the 1st movement transitioned from the minor key. Then begins the rapid glissandos (please correct me as I'm not sure what one calls that), ending the first movement with a more peaceful tone.

P.S. I'm having trouble viewing the PDF. Can you repost?

Is 'getting your attention' a good thing? ;] Thanks for listening.
I've updated the links. I wasn't up to date with payments for my server so it's suspended for the month. I'm trying out this eSnips thing, but I'm not sure how it works, so if you still can't see it, message me, okay?

Is 'getting your attention' a good thing? ;]

Good Question...

No, really it's a good thing I have a question though; what is the meaning of the title Liu Yi He? My chinese is sketchy, so I automatically associate Liu and Yi with the numbers 6 and 1. I was able to download the PDF, I plan on listening again while reading the PDF when I find time.

The work is chaotic, but at times strangely makes some form of sense.
Have you ever heard works that are chaotic, but have a strange order, perhaps even a compelling something about them?

I supopse you made this exactly how you desired it to be made, therefore I cannot give advice, being its a kind of its own.

I don't want to call it a bad work, being I think you did what you set forth to do, and I don't want to call it great as I am bias, as I would never write in this style, because I don't care for dis-ordered works.

Anyways, part of me says good work, part of me says this is insanity.

Jeremy