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Showing content with the highest reputation on 11/11/2018 in all areas

  1. Hello Here is the revised version of my Fantasia
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  2. Hello Serge, Thank you very much for your comments! I had more or less put this piece in the archive drawer, but your inputs prompted me to look at it again. I am particularly grateful that you have taken the time to revise the score. To write correct and playable scores is of great importance. I agree with you about trimming the 5-note chords. Unfortunately, I tend to write “to many notes” (LOL). However, I left the 5-note chords in 63,64,66 and 68, otherwise it would sound to “thin”. But I arranged it with cross-staves for best playability. I dropped some of the r.h. bottom-E notes in ms 83 and 84, and made some other changes- also in ms 85. Much better now! In ms 193, I removed the first three Eb´s of the 1/16th notes in the lower stave, and in 196, I removed all of them. (Likewise, I simplified 197 and 200. Again, much better! I have to think more about mss 33-40. For me, it does not come across as misplaced or comical, but I see what other people think of it. In any case, I would want to have a new passage with a temporary key-change at ms33, to avoid monotony. Finally I made some other corrections and small changes as you will notice (in the uploaded new score). I also replaced the playback file with a new one. Once more- Thanks a lot for your effort! Best regards.
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  3. The first one is less organised, I mean, it has different material that makes it a bit less coherent. That doesn't happen with the F minor one, although it has two well defined parts. Good material anyway.
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  4. Hi Serge, These two pieces are both great, although I think the better piece is the F minor. The etude seems like a collection of ideas that are hanging together, while the F minor seems more like a whole homogenous piece. I like a lot that while the language you use is tonal, melody driven, classical for want of a better word, the way you use it and the direction the work takes is quite "original". Regards Mark
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