Leaderboard

Some of the most devastating music i’ve heard still yet contain a mixture of the minor/major mode but commence and return to the minor. There are some outliers though in your spirit, such as Bach’s crucifixus (from mass in b minor). I believe that is entirely in the minor, but with an important caveat: The movement is approximately 3 minutes long, and is immediately followed by the jubilant ‘Et Resurrexit’. This is of course highly effective, and I can only imagine how the mood in a concert hall, reduced to the depths of despair at the depiction of Jesus dying on the cross, to then be elevated by the sudden and ecstatic news of the great revelation. The other example that comes to mind is Dido’s Lament by Purcell. Both share a the same structural basis: a repeated ground bass and as such the music remains within its harmonic frame. And both represent something both devastating and apparently defeating. So it’s not unprecedented in that measure, but what sets your work apart is in its length, and the indication that the other movements are also predominately in the minor. I would argue that the most effective narratives through music embody some form of cyclic structure that involves both the major and minor (not in equal measure but 70/30, depending on which mode the work commences) and if not within a single movement, then between movements. Bach’s crucifixus is an excellent example in this respect. That is my personal preference, of course, and wish not to detract from the technical and aesthetic feat you have achieved here. All the best Markus

@JorgeDavid Well done, that was excellent! The second half is particularly moving. I felt like it really built up the drama and peaked in a very satisfying way. You’ve got a really nice touch, both in the composition and performance. Here’s my only recommendation: break up the accompaniment rhythm here and there. It will give the piece more character if the accompaniment is just a touch more rhythmically interesting. I’m only talking about rhythm, not the notes themselves. Even a small rhythmic change can have a big impact. For example: Instead of boom chuck chuck, boom chuck chuck, boom chuck chuck, boom chuck chuck… You might try boom chuck chuck, chuck boom chuck, chuck chuck chuck, boom chuck boom (rhythm repeats). The boom is the bass note and the chuck is the chord. You could keep all your same luxurious bass notes, but just alternate slightly where those bass notes hit. You may even find a configuration that sounds so delightful, you can use it throughout the piece as a motif. Anyways that’s just a thought. Even if you keep it as is, it’s already lovely! Nice job.

Hello, What a wonderful waltz. I listened it to 4-5 times now, and each time at 0:23, or measure 11....the Bnat in your right hand, really clashes with the Bb in the left hand. In that same measure (11) and in measure 15, you do this thing where you have like a power chord going on....G in LH and G-D in right hand. Sort of feels out of keeping with the lovely sophisticated, I'm in a Cafe in Paris feeling smoking a cigarette reading Camus sort of feeling that you got going on otherwise. In measure 11, I personally "feel" a Gminor9 chord sort of voiced in a way where it's clustered together. But I realize that that may or may not work with what you have right after (going into the Cmaj). Perhaps, just nixing the Bnat and keeping it Bb. Anyways, that's how the piece sounds to me...just this one place that seems out of place. Really digging the chord/atmosphere at measure 37. At measure 40, you play a F# I think that's not in the score? Maybe it was an accident/improvisation, but I like it! Perhaps you could expand on the idea since I believe that this general idea has not come up in the music yet.

Hi @Markus Boyd ! Sorry for a long delay for replying! Actually not only this movement but the entire piece is predominantly in minor. My story to tell is about despair, the feeling of it and the struggle of it with hope. When you are struggling it's easy you lose all hope in the world, so I don't put balance of major/minor in this work. In fact the portion of Eb major is increasing during movements and the work will end in it instead of C minor to represent some hope! During this movement it will be me to be crazed by the despair completely till exhaustion, and after that you will start reflecting, which is the theme of the 3rd movement. In that emotional state I believe there won't be much drama from major/minor, rather it will be a deep dive into the despair in minor. Henry

Hi @Luis Hernández ! Thx for your reply! I always want to reply but I'm too busy right now ao it causes a really long delay! Thank you Luis. I know how knoweledgeable you are with musix theory and to earn a compliment from you is an honor. I do think in terms of counterpoint and hopefully it's not too bad haha! Henry

The Etude-Tableau was written for the Moscow Conservatory's 2018 International Winter School, along with the Nocturne in C major, Op. 5, and the Romance in E major. This piece was the first piano piece I had written in over 2 years, and was also my first attempt at virtuoso piano writing. I brought it to the school as one of my piano performance pieces. I later recorded it at home, and this is the performance on Youtube. I hope you all enjoy it. 🙂 Theo