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- Submitted: Jul 02 2012 10:01 PM
- Last Updated: Jul 02 2012 10:01 PM
- File Size: 4.59MB
- Views: 477
- Downloads: 52
- Genre: Early 20th Century
- Sub Genre: Impressionism
- Form: String Quartet
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The Peacock Dance
So this is a more interesting piece. Some of you may recognize that the first two "mini-sections" are actually directly from my earlier "Stringa Staccato" submission. While I hate that piece, I rather like this one. This is basically an impression portrait of a dance, an evening of two individuals falling in love at a dance. The "Peacock" Dance, it is then dubbed, is this story, being told through the traditional string quartet.
There are "mini-sections" throughout the piece. Rather than separating them, I feel they all flow into one little work. But the program notes probably help explain what I mean in each section. So I'll provide them below. The piece is pretty rough. I have my slate, and now I need to work in edit. But I figured that's what this site is for, and so I've submitted this for some constructive criticism for my edits. Comments are always greatly appreciated.
CAUTION:
The file is a MIDI file from Finale. This is terrible. As you may notice, as well, I have several inserts over empty measures with instructions. This is because my software doesn't allow for this kind of notation (mixing in percussion) and this entire piece incorporates it, so I had to find another way to write it in. It therefore is not in the MIDI file, and isn't played. You'll have to imagine it, so sorry. Also, this piece comes with a little introductory prelude, done fully in percussion by the string players, which is fun. But I don't have a PDF or MIDI, so I'll have to work on that. For now, this is all I have to provide. But the MIDI horrendously butchers it, and it's almost sad. So bear with it, and know that musical interpretation helps out SO MUCH!
Program Notes (ABRIDGED):
The Meeting:
This section basically introduces the characters to each other. They see each other at the party, and while awkwardly noticing one another, they become interested. However, they are trying to avoid eye contact, for fear of being caught in their glances.
The First Dance:
Here, the couple decide to dance, harmlessly, into the middle of the floor. The dance starts a little messy, but eventually the couple find they have a good connection in their dance. Soon a sudden fire sweeps them, and they are caught off guard and swept away by the passion of their dance.
The Inquisition:
The couple part, slightly embarrassed by the loss of control. However, they must find if the other is truly interested, and whom this person may be. So they both mingle to different parties, inquiring concerning their newly met "partner". They meet once more, accidentally in the same group, and find that same attraction. Soon they themselves find that one another is interested.
The Realization:
Each of the two has now come to the consensus that the other is attracted to them, and this curiosity and thirst becomes a struggle, because the dance is old, and waning away quickly. Each realize that they will only have a rare chance at this love, because if time sweeps it away, they will never see each other again. In this, the each formulate (unknowing of how synonymous their plans are) a plan to win the other, and to gain that second dance. They battle through the crowd to find one another, and finally they see each other, and the man bows for the dance. The stage is then set.
The Second Dance:
Afraid of jumping too quickly to the subject, each dances with jovial intentions, beating around the bush, and remaining quiet, not wishing to spoil the moment. But then, in the soft stillness of the dance, each, in their own way, starts to reveal their emotions. The are, however, swept away by the heat of the dance, and are not able to finish. The dance ends, both beings satisfied, but then realize they have not told the other.
The Confession:
They then search again for one another, coming so close, and yet seeming hopeless. Finding each other, the small talk begins, but it is impossible to avoid the subject, as it is demanding to enter the conversation. Finally, it bursts and they confess. There is a still moment of silence, and the atmosphere dampens, as each jumps inside with happiness, but remains still, soaking in the glory of this romance to be had. Their emotions then spiral, and they lose control of themselves.
The Embrace:
Overcome with emotion, they fling into embrace. The connotation of this passage is that the couple reap the rewards of their romance, in affection. They fill the room with their last dance, and end with a hesitant hold, knowing what this last dance as meant.
The Fleeting Goodbye:
Sadly, the dance is over. The couple know they must leave, seeing as they do not fully know one another, and live far away. There is a very brief sadness in the air, but a flirtatious glance overcomes the hopelessness of the situation, promising yet another dance in the future.
There are "mini-sections" throughout the piece. Rather than separating them, I feel they all flow into one little work. But the program notes probably help explain what I mean in each section. So I'll provide them below. The piece is pretty rough. I have my slate, and now I need to work in edit. But I figured that's what this site is for, and so I've submitted this for some constructive criticism for my edits. Comments are always greatly appreciated.
CAUTION:
The file is a MIDI file from Finale. This is terrible. As you may notice, as well, I have several inserts over empty measures with instructions. This is because my software doesn't allow for this kind of notation (mixing in percussion) and this entire piece incorporates it, so I had to find another way to write it in. It therefore is not in the MIDI file, and isn't played. You'll have to imagine it, so sorry. Also, this piece comes with a little introductory prelude, done fully in percussion by the string players, which is fun. But I don't have a PDF or MIDI, so I'll have to work on that. For now, this is all I have to provide. But the MIDI horrendously butchers it, and it's almost sad. So bear with it, and know that musical interpretation helps out SO MUCH!
Program Notes (ABRIDGED):
The Meeting:
This section basically introduces the characters to each other. They see each other at the party, and while awkwardly noticing one another, they become interested. However, they are trying to avoid eye contact, for fear of being caught in their glances.
The First Dance:
Here, the couple decide to dance, harmlessly, into the middle of the floor. The dance starts a little messy, but eventually the couple find they have a good connection in their dance. Soon a sudden fire sweeps them, and they are caught off guard and swept away by the passion of their dance.
The Inquisition:
The couple part, slightly embarrassed by the loss of control. However, they must find if the other is truly interested, and whom this person may be. So they both mingle to different parties, inquiring concerning their newly met "partner". They meet once more, accidentally in the same group, and find that same attraction. Soon they themselves find that one another is interested.
The Realization:
Each of the two has now come to the consensus that the other is attracted to them, and this curiosity and thirst becomes a struggle, because the dance is old, and waning away quickly. Each realize that they will only have a rare chance at this love, because if time sweeps it away, they will never see each other again. In this, the each formulate (unknowing of how synonymous their plans are) a plan to win the other, and to gain that second dance. They battle through the crowd to find one another, and finally they see each other, and the man bows for the dance. The stage is then set.
The Second Dance:
Afraid of jumping too quickly to the subject, each dances with jovial intentions, beating around the bush, and remaining quiet, not wishing to spoil the moment. But then, in the soft stillness of the dance, each, in their own way, starts to reveal their emotions. The are, however, swept away by the heat of the dance, and are not able to finish. The dance ends, both beings satisfied, but then realize they have not told the other.
The Confession:
They then search again for one another, coming so close, and yet seeming hopeless. Finding each other, the small talk begins, but it is impossible to avoid the subject, as it is demanding to enter the conversation. Finally, it bursts and they confess. There is a still moment of silence, and the atmosphere dampens, as each jumps inside with happiness, but remains still, soaking in the glory of this romance to be had. Their emotions then spiral, and they lose control of themselves.
The Embrace:
Overcome with emotion, they fling into embrace. The connotation of this passage is that the couple reap the rewards of their romance, in affection. They fill the room with their last dance, and end with a hesitant hold, knowing what this last dance as meant.
The Fleeting Goodbye:
Sadly, the dance is over. The couple know they must leave, seeing as they do not fully know one another, and live far away. There is a very brief sadness in the air, but a flirtatious glance overcomes the hopelessness of the situation, promising yet another dance in the future.
BTW, what does this "much libretto" indication in ms. 62 mean?
Huh....stupid computer. Stupid user. Wow. It should read, "much vibrato"....that's more than slightly embarrassing... I'm not quite sure what exactly happened here...I'll adjust it.
As for the rest of your critique, thank you for the review. I appreciate your comments, and I find it interesting after listening to your work to find stylistic similitude, hope that means I'm headed for such a level
I agree with your comment on my freedom. I was conservative in writing this work, and used "safe" harmonics and "safe" tactics....I suppose I wanted to create something solid before I ventured into a more unstable conception. But thank you so much, I'm glad you enjoyed it somewhat
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1) First, I'm sorry that the MIDI rendering steals so much from its true value. I'd love to hear this with a more string-quartet-like sound, as I'd bet it's supposed to portrait both the sensuousness and the intimacy suggested by the programme.
2) It's also very telling that you're able to blend extended techniques (esp. percussive sounds from string instruments) into an otherwise very conservative work, harmonically speaking.
3) Most of this piece is built around a single theme and its successive variations. However, you chose to stick with a single meter, on which you attempt to build rhythmic variants through these extended techniques. The main rhythmic "driving force" is quite similar to a tango, which also enhances the subtle seduction that the work portraits. I'd have liked you, however, to take a bit more freedom on this regard.
4) For what it's worth, I was a bit surprised to find some stylistic similitudes between this piece and a couple of early compositions of my own (I haven't uploaded any of these in YC or anywhere else).
Overall, a very nice work. Keep on composing!
BTW, what does this "much libretto" indication in ms. 62 mean?