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- Submitted: Jun 28 2011 03:46 AM
- Last Updated: Jun 28 2011 11:52 PM
- File Size: 3.31MB
- Views: 2726
- Downloads: 1,169
- Genre: Contemporary
- Sub Genre: Neo-classicism
- Form: Prelude
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Piano Miniatures (WIP)
0
This is a work of progress, with two completed. The total number of pieces in this set is undetermined as of yet.
1. Moderato (1' 26")
2. Allegretto (1' 45")
I wrote this set of pieces as a "sketchbook" of sorts : it is to contain music that I intend to explore, or snippets of thematic and structural ideas, or music that I write for personal pleasure.
The first piece is a fugue, and uses a technique which I have come to call "sequentialism". It differs from serialism in the sense that it is the intervals, and not the pitches, that are being manipulated here. Here the next note is determined by the previous note and an interval : each note is separated by a sixth, then a fifth, then a fourth, and so off. This sequence of intervals may be ascending or descending, but it must always be step-wise. Each voice also has its own distinct "fundamental pitch" which I may return to without considering the intervals involved. The stacatissimo mark in ms 11. and in the following bars mark a change in this pitch. Also, each voice has a tonality and rhythm associated with it. For example, in the first few bars, the alto is in the "major" and has a rhythm of (3+2)/8, and the bass is in the "minor" and has a rhythm of (2+3)/8. Again, these are alterable at will, with particular motives associated with them (e.g. soprano ms 8 for a change in tonality, soprano ms 19 for a change in rhythm). The structure is quite symmetric, with development at roughly ms 16 and recapitulation at ms. 49.
The second is a musically simple prelude. This piece focuses on the development of textures by means of varying the material. The structure here is ABACA. The same theme accompanies the start of each section, and divide the piece quite neatly into 3 10-bar sections and 2 6-bar sections. The three A sections differ quite significantly from each other, but share the common 4-bar introductory theme (in B and C these are truncated to 2).
1. Moderato (1' 26")
2. Allegretto (1' 45")
I wrote this set of pieces as a "sketchbook" of sorts : it is to contain music that I intend to explore, or snippets of thematic and structural ideas, or music that I write for personal pleasure.
The first piece is a fugue, and uses a technique which I have come to call "sequentialism". It differs from serialism in the sense that it is the intervals, and not the pitches, that are being manipulated here. Here the next note is determined by the previous note and an interval : each note is separated by a sixth, then a fifth, then a fourth, and so off. This sequence of intervals may be ascending or descending, but it must always be step-wise. Each voice also has its own distinct "fundamental pitch" which I may return to without considering the intervals involved. The stacatissimo mark in ms 11. and in the following bars mark a change in this pitch. Also, each voice has a tonality and rhythm associated with it. For example, in the first few bars, the alto is in the "major" and has a rhythm of (3+2)/8, and the bass is in the "minor" and has a rhythm of (2+3)/8. Again, these are alterable at will, with particular motives associated with them (e.g. soprano ms 8 for a change in tonality, soprano ms 19 for a change in rhythm). The structure is quite symmetric, with development at roughly ms 16 and recapitulation at ms. 49.
The second is a musically simple prelude. This piece focuses on the development of textures by means of varying the material. The structure here is ABACA. The same theme accompanies the start of each section, and divide the piece quite neatly into 3 10-bar sections and 2 6-bar sections. The three A sections differ quite significantly from each other, but share the common 4-bar introductory theme (in B and C these are truncated to 2).
I agree with Ian on this! The conclusions were a bit.... sudden and un-prepared, however I still really loved it 
Thanks for posting
Thanks for posting
There's so much energy in this composition that I feel saying what Victor Frankenstein said when creation moved: He's alive. Of course, I don't mean this in negative way. By no means. My only concern is the voicing; there are some voice leading(in the style you are writing in) that bothers me. I leave that to that those who know more. I like it though.
I thought that the composition techniques you used were very interesting, and I absolutely love the originality and tonality of both pieces.
I think the first is incredible! Much better than the latter, in my opinion. The intricate rhythms and contrapuntal voice leading are just amazing, and I love the use of trills for the harmony. As I mentioned to you already (in the shoutbox), I love the overall shape of the music, and the large leaps create a lovely juxtaposition of pitches that kept me interested throughout.
I liked some of the ideas in the second one; but not as much as the first. The rhythmic ideas are more conventional (as you already know!), and I wonder what you think about utilizing the 'leaping' idea from the first miniature in the bass as the upper voice runs up and down? To my ear, it would add a nice element of interest that (to me) are missing from these passages, and I see that you did indeed use it a couple of times for these passages. I did really like the heavier chords in the lower voice, and I thought the ending was great!
I liked some of the ideas in the second one; but not as much as the first. The rhythmic ideas are more conventional (as you already know!), and I wonder what you think about utilizing the 'leaping' idea from the first miniature in the bass as the upper voice runs up and down? To my ear, it would add a nice element of interest that (to me) are missing from these passages, and I see that you did indeed use it a couple of times for these passages. I did really like the heavier chords in the lower voice, and I thought the ending was great!
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In the first, I did notice the topmost voice entering with a melody already used, but everything else might as well have been development. It was a constant stream of similar textures and rhythms, not unlike a serialist piece. I don't normally enjoy pieces like this very much and this was not an exception.
The second miniature may be one of my favorite things from you. It sounded to me like constant development - or a fantasia - with frequent restatements of the main theme (which I liked a lot) to give unity. I don't know why you would describe it as ABACA when the A's sound so different from each another. Again the ending lacks a sense of a conclusion.