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By General Pokopo · Posted
Hey, It all depend on execution. I guess if you have an idea you should at least give it a try. -
Hi, this is a side piece that I've worked on whilst I work on the revision for the Alula Variations (I love doing reworks on a 30 mins piece's score hahaha....). I chose bassoon and flute because I kinda wanted to write a chamber piece and write for bassoon. I also like the vibe of the OST. So yeah, hope you enjoy! -
By JorgeDavid · Posted
Hello everyone! I just finished composing an Andante for piano. It turned out to be quite a melancholic piece so it reminded me of a lament, that is why I named it "Andante Lamentoso". I was doing a simple exercise where I try to compose something really short using one of the simple Czerny pieces I practice for piano. Normally I just compose for 10 minutes and stop but I liked the beginning so I extended it. It was inspired by "Czerny Practical exercises for beginners op.599 No.21", particularly the accompaniment and harmonic content of A section (that piece is a fast waltz in major, though). The main skeleton of the piece is a rounded binary form [:A:][:BA':]. However, I decided to repeat the A section once after the ending, so I added it with a final coda. As a result, the form schema would be: [:A:][:BA':][A]. My main concern is that all sections end in the tonic chord and, in the B section, I ended it with an Imperfect Cadence (otherwise the last repetition of the A section felt out of place). I am not sure how successful that was and maybe I should just add the coda at the end of B section to turn it into a normal rounded binary. However, I do feel like the repetition of the A section at the end adds something to the whole. How common is ending sections in an imperfect cadence on the tonic chord? Sometimes I like the piece and sometimes not so much, I guess I need some days to let it rest. m.40 is the measure I am less confident about. I always have troubles going from one section to the restatement of a previous motive. In m.40 I transition to the main motive of the A section but I am not sure if it is smooth. Any feedback is welcome and hope you like it! PD: I composed it at the piano but I did not manage playing it as well I wanted to so, for now, I used the midi sound :S. I think the midi sounds okay for this type of piece. -
By JorgeDavid · Posted
Hello @UncleRed99, Thank you so much for your feedback! I envy you so much for playing trumpet! Two of my favorite Jazz musicians are Miles Davis and Chet Baker, so the trumpet is one of the instruments I listen to the most! I got stuck with the piece because it became hard creating solos with the drums, bass, and everything together. It is still a work in progress and I plan to finish it all, but I think it will take me longer than expected to learn enough to complete it (particularly because I need to understand several instruments for creating the solos, and, specially the drums and creating transitions is being harder than I expected. I need to improve my improvisation skills too for making solos sound natural :S). In the meantime I am also trying to compose the shout chorus and the ending of the piece. Jazz is so different to classical music that I feel like I need to learn everything from scratch once more 😅 I will make sure to let you know when it is completed! Thank you for you encouragement! -
UPDATED 2-10-25: Made recommended changes, created a "false start" in recap of 1st theme to add tension/avoid stale theme, tightened up dynamics, phrasing... I've started working with my pianist who is going to play in the workshop. I've cleaned up the score for performance--she was very helpful---and made the final large scale edit---creating a "false start" on the recap of the 1st theme, which then promptly lunges into the full throated piano rendition and complete theme/coda. It cut 15 seconds and is generally more concise and maintains momentum (I think). I'm under the gun to write the Rondo in 3 months with a workshop penciled in for June. My pianist is largely MEMORIZING my music--which is humbling and a wake up that suddenly, with a performance in the offing, this is FOR REAL. Getting there. The workshop will help with critical final edits. This may be Opus 1... we will see.....
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