// Variations in A minor for violin and piano \\

Do you have a pianist, who can play it? (You kinda need both...)

Why thank you for the complement MisD and though it may take some months to get It done, I hereby promise to practice it every night or other night! And yes I do know some pianists that may take up the job.

His name is Tomás, but everybody is too lazy to use the accent.

Some of the artificial harmonics in the 2nd and 3rd variation aren't that great to have in the middle of those runs, and for timbre purposes, I would suggest displacing them in their actual non-harmonic octave. The sound would be fuller, and wouldn't be that whistle like harmonic sound. And for something as brilliant as this, it fits better.

Also, more interesting writing in the piano would be helpful. Maybe more flashy, like in the violin? Also, I would suggest a more prolonged ending, where the piano has the arpeggios at the end- even just expanding by 2 or 4 measures would sound more whole.

How long have you been playing violin MisD?

10 years so far, Sir Violinist1.

Originally Posted by Corbin The Violist

Some of the artificial harmonics in the 2nd and 3rd variation aren't that great to have in the middle of those runs, and for timbre purposes, I would suggest displacing them in their actual non-harmonic octave. The sound would be fuller, and wouldn't be that whistle like harmonic sound. And for something as brilliant as this, it fits better.

Also, more interesting writing in the piano would be helpful. Maybe more flashy, like in the violin? Also, I would suggest a more prolonged ending, where the piano has the arpeggios at the end- even just expanding by 2 or 4 measures would sound more whole.

I will certainly consider your suggestions about the harmonics. We'll see how it turns when in some months Sir Violinist1 can perform the piece. The only reason I didn't give any more interesting material to the piano is because it's essentially a violin show-off piece. The concept of a show-off might be wrong in all aspects, but it's what happened here I also felt a need to have those deep percussive left hand notes in contrast with the violin arpeggios near the end.

Wow- very fine piece. Some things I want to mention-
1) You have crescendos for multiple measures that you don't need. A good pianist will be able to play this if they are told to play it expressively... at least they should.
2) I like the Piano part, but do you think that you could create a counter melody when the Violin is playing the melody for the second time? I like how you combine the same melody with something different, but it doesn't keep me hooked to the piece. Oh BTY, the piano develops perfectly!
3) This is probably the most difficult Violin part I have ever seen or heard! You definitely understand the instrument, and everything is theoretically possible, but I wouldn't hold my breath... It is VERY hard to start playing sixteenth note harmonics and doublestops in octaves in sixteenth notes at this tempo, yet I think a pro violinist could handle it with a bit of practice. Sure, I am a one year student of the Violin, but I have heard enough concertos and live performers to understand what's hard and what's not.
4) I favor the sixteenth note passage at the halfway point of the piece. It's the right difficulty, and isn't exceedingly virtuoso.
5) I like all of your variations really, but the way you label them in the score makes me think "Etude". Perhaps if you simply got rid of those- They aren't really needed anyway. A good performer will realize that they are variations.
6) Now how exactly do you intend the violinist to play the arpeggios on page 17?? You HAVE to slur those for sake of convenience, either that or I just can't see a violinist playing that!

Excellent piece! While I had some things to say, I liked the piece. I would love to hear it performed!

Thanks for the comments

1) I notated the crescendos mostly so that Finale would play back the music the way I want. However, I do want to make my point clear, so I write the important stuff.
2) Definitely an interesting proposition. It's written the way it is mostly cuz it's based in the classic variations format, which works like this.
3) Indeed it is. It's what scares me
4) Thanks
5) Well, I've *always* seen variations labeled in the score, and I feel it makes it clearer.
6) True, they'll have to be slurred. I didn't so that a potential performer would have the choice of writing his own slurs.

Thanks again for the comments!

Originally Posted by Morivou

Do you have a pianist, who can play it? (You kinda need both...)

I could play it, maybe even sightread it!

Oh, that's another thing- I noticed how simple the Piano was compared to the Violin. Normally the Piano accompaniment is a ratio-factor as hard as the violin part. If I saw the solo instrument part alone, I would think that the piano part would be incredulously hard!

M is D- I'm glad you like the comments! I was expecting to be ripped to pieces. Maybe I've been in the Off-topic section too much...

In response to 6)- Performers HATE it (and I know I do) if they have to write thier own markings in that the composer refused to put in, so I try to write as much in as I can without putting markings all over the page.

Just some food for thought!

They do? Most performers I know disregard the markings that come with the music for their own, myself included. It's why I did it.