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By pateceramics · Posted
On the one hand, yes, it can be less daunting to work on smaller projects at first. On the other hand, you don't seem to be daunted, and look at how much helpful feedback you have gotten by making this brave attempt that can guide you going forward! The bigger the piece, the harder it is to get it performed, but in terms of learning, write what interests you. That will keep you writing, which will keep you improving. 1. If we are never allowed to share what we write until we feel we are on par with Beethoven or Brahms, the world of new music is going to dry up. 2. No one says you need to stop with this single draft, you too can keep revising this piece for twenty years. 3. I bet Beethoven and Brahms shared what they were working on during their 21 and 30 years of sketching and revising, it's how we keep finding new things to fix and are encouraged to keep going, so keep writing, keep revising, and keep sharing periodically. I never learned to knit because though I tried to learn several times, the people who taught me always insisted I start with a scarf, and I would diligently get about a foot in with nice even stitches and be dying of boredom and ask if I could put it down and try a simple pattern for a hat or pair of socks and they would refuse to share the secrets of hats and socks until I had made several more feet of scarf. So if working big is what interests you, to me, that's fine, as long as you don't need the encouragement of seeing things performed, which is easier to get with shorter pieces for smaller groups of musicians. As long as you are interested, you'll keep going, and that means you'll keep learning and improving. -
Cry me a River | Cover (1953) : Chorus Variation -
Here is a (I think) better arrangement of the piece. There are no new parts but I was unsatisfied with the most recent arrangements. -
By Fugax Contrapunctus · Posted
Since this is in essence a revised version of my earlier Enharmonic Perpetual Canon No. 3, whose single contrapuntal flaw replicated across all voices requiring a modification of an octave leap which ultimately ended up necessitating a transposition of the whole canon a perfect fourth higher, I decided to change the title of the entire series thus far to "Pantonal Perpetual Canons", as the previous title didn't quite serve as an accurate descriptor of the technicalities within the compositional process that gave rise to these pieces. Due to the necessary integral transposition of this work, however, the coda's newly resulting ending key (F-sharp/G-flat major), the only key along with its relative D-sharp/E-flat minor that displays an equal number of accidentals when enharmonized, far too many inconsistencies relating to the enharmonization of melodic intervals can be found in this version. Normally I would have managed to transcribe the melodic theme across all its internal transpositions in a way capable of satisfying apparent melodic continuity throughout the notation process, but due to the ambivalent quality of this key when it comes to enharmonization, not even the coda could be perfectly transcribed without far too many double accidentals. As such, as much as it irks me to see it like this, I have had no choice but to leave the currently notated version of this canon as is. The choral lyrics of this canon (once again, in Latin) translate as follows: "Change is inevitable in all things. Everything flows in the balance of those who are tempestive." As for the coda, its own lyrics further drive the meaning of these aphorisms to greater clarity and realization. YouTube video link: -
Welcome To Fabulous Las Vegas Jazz , A Universal Language.
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