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  • Works With Few Reviews

  • Posts

    • Any organization of the tones between one note and its octave. The number of notes in the scale vary between 1 and 12.
    • Honest question: how are you defining a "scale" ?  
    • This piece of mine - Soliloquy for Violin No. 28: A Personal Reflection on Shakespeare's "To Be or Not to Be" Question (Hamlet) ('Mi'* Be; Do Be; 'Mi' Be) - was inspired in response to the competition on the theme of Shakespeare that is currently being held in this website. However, it falls short of one of the criteria of the the competition in being less than five minutes long. I consider it to be one of my good pieces and so wanted to still share it. I hope you enjoy it. As for the extra-musical associations of the piece, I have already explained in the score via asterisks which I reproduce below: Mi ('մի') means "Don't" in Armenian. Therefore the beginning 3 measures "E B C B E B" translate to "Mi B Do B Mi B" and then to "Don't Be; Do Be; Don't Be", like an obsessive question haunting its victim. Regarding the last two notes of the piece, B & E, these last two notes end the piece, after four bars asserting "Do B(e)" again and again, by the note-word combination "Be Me", thus giving us a reason to choose to be, the notes at the same time spelling/commanding "BE"! I have tried as much as I can not to let the extramusical associations effect the quality of the music, even thought the music itself arises largely from them! To be sure, the music, in translating notes into words and words into notes, etc, might be taking the "To be or not to be" question a little to literally, but I hope that the music itself also gives some sense of the issues that the question deals with. It is for you to decide how far it has succeeded. I look forward to your feedback.
    • Wow, you cast the net wide if you include any movement in any type of work.  That being said, here's my list:   1. Beethoven, Symphony no. 7, 2nd Movement 2. Mozart, Great Mass in C minor, "Kyrie" 3. Beethoven, Piano Sonata No. 27 in F minor "Appasionata," 3rd movement 4. Schubert, String Quartet in D minor, No. 14, "Death and the Maiden," 1st movement 5. Mozart, Requiem in D minor, "Lacrimosa" 6. Bach, Chaconne from Partita in D minor for solo violin 7. Schubert, Mass no. 6 in Eb major, "Et incarnatus est" 8. Cherubini, Requiem in C minor, "Sequentia" 9. Sibelius, Violin Concerto in D minor, 1st movement 10. Dvorak, Symphony no. 7, 3rd movement        
    • Hi, I came here from other post of yours. And I'm glad. This work is quite interesting. Although is not long, it's enough to show potential. There are contrasting sections, always welcome to avoid monotony. The "minor mode" feeling is present all over the piece. I also like the way you manage rests. The begining, with those high strings reminds me to the beginning of Lohengrin. The melody is beautiful and the crescendo parts very well located.  
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