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    • Thank you, I appreciate the thumbs up!
    • Upon request of a fellow YC member, here's the complete Sonata with its three movements. I must admit that the first movement is my personal favorite - but I'll say no more, preferring to stand by for your comments.   Thanks in advance!
    • This is my "Soliloquy for Accordion No. 2". It is, as its subtitle declares "In Memory of a Martyr for Freedom of Expression in the Arab World: Jamal Khashoggi". I am sure you have heard about the disappearance and death of the journalist all over the news for the past 20 days or so. It has preoccupied the news media of late. And increasingly it has appeared that he was brutally killed. His last article in the Washington post had an apt title: "What the Arab world needs most is free expression" (I provide the link below for those interested in reading it). As such - and as a citizen of the same "Arab world" that Khashoggi comes from, this is perhaps my first piece which can be described as a kind of "musical commentary" on current events. May his soul rest in peace. And may the Arab world - and the world at large - come to enjoy the free expression that he dreamed of. As such, this piece can also be considered as a step in the path or process of championing the right to freedom of expression and achieving the end of all oppression. Link to Jamal Khashoggi's last article: https://www.washingtonpost.com/opinions/global-opinions/jamal-khashoggi-what-the-arab-world-needs-most-is-free-expression/2018/10/17/adfc8c44-d21d-11e8-8c22-fa2ef74bd6d6_story.html?utm_term=.de0ae3ff2d95
      Link to my "Soliloquy for Accordion No. 1": https://www.youngcomposers.com/t34266/soliloquy-for-accordion-no-1/
    • I’m having to completely “rehear” it in my head as I listen. The arpeggios and scales really should be soft, and the right hand brought out over the accompaniment. So keep in mind what I have to say is not based on this MIDI rendition. The beginning part is very nice, and I think you do something really cool. You base it very clearly in the straight C major scale, and the only extra note you add is the diminished 6th, that Ab. That Ab becomes, in this intro, like a flicker of curiosty and intrigue in the child’s mind, an urge to investigate. It is weaved in some way throughout the piece as a convincing motif. Well done. However, in most cases, your uses of 5ths are really neat (as it is in most of this piece, and other pieces you’ve written), measures 15-19 are just plain ugly, no matter how I adjust it mentally (even the A# and D# ruin the wonder of the Ab motif) . I’d revise it to be more in line with what was already written beforehand, since the intro and A part doesn’t overstay it’s welcome, as far as I can hear, getting to the B section. The B section is awesome. The panic is well portrayed and crystal clear, and as usual, your use of 5ths is really evocative. I’m not sure, but I wonder if it might be even more effective at a slightly higher tempo, with a harsh rit. from 73-76 to transfer back to the C part? Maybe, again, I’m not sure. Regardless, really love how you handled this. C part is inspired. The conspicuous Ab flat is hinted at through the first few measures, and is finally recalled in passing at ms. 82. Some pedaling here would probably add to the mystery of the section, even if it’s just a little here and there every quarter note beat (some scales omitted). And D part, the Ab is now suspiciously absent, the child having learned that curiosity can be dangerous, and is now more cautious. (The F# is technically the same interval, but it doesn’t sound like it in context.) Great ending. A little nitpick and pet peeve of mine: it irritates me to see the same note being played on both staves at the same time. Mss. 4, 6, 27, (side note, ms. 28 would be easier to read if the last two beats switched staves, because the hands will need to switch at that point) 46, 50, 52, 59, 65, almost 87 (which won’t work at all without precise sustain pedal), all contain these same notes in both staves. It’s enough to be distracting. It gives the impression you composed the entire treble stave first, and added in and only focused on the bass stave afterward. Please add rests or omit notes in one hand to smooth out the score’s presentation and readability. And while you’re at it, listenable dynamics, too! I know it will always be “just MIDI,” but there’s a big difference between clunky midi playback, and MIDI that makes the listener think, “human performer, or robot? Hard to tell.” I really like this piece, I think it’s imaginative and thoughtful. Thanks for sharing ☺️
    • I was skeptical that electronica and jazz would work well together, and I was a little scared to click on the link. But you did a very, very tasteful job merging the two. You made the styles dance together, rather than clash. I think you held back just the right amount of electronic stuff, and it never overpowered the jazziness, as I feared it would. Very nice remix, thanks for sharing 🙂
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