Archishman

Here's a Fantasy. Even late romantics, when they wrote fantasies, had some kind of form. Chopin's Fantasie is distinctly a rondo. Mine's formless. I have tried to keep it through-composed and episodic, akin to maybe a Hugo Wolf lied. Episode I in F major: A cantabile section, melody in the bass. I stole this style from Lohengrin and I proudly admit it. Episode II in F sharp minor: This was born out of an improvisation so will feel the way. A theme materializes that goes to D flat and back to F sharp minor. Episode III in D flat major: Simple cadences, Mozartian in attempt. A candenza section left open in there. Episode IV in D flat major: The triplets are back. Maybe a bit cliche. Trying to imitate trombone lines. A brief interlude in an A major French sixth. 6-4 return in D flat. Recalls a candential motif from Episode I and makes it bombastic. Finally, ends recalling the absolute beginning. I am thoroughly disappointed in the software of course and it comes nowhere near the way I originally intended it to be played. It could play it if I practiced it. But at 20 or so pages, I simply don't have the time. Apologies. Hope you enjoy all the same and have the patience to give ear to one of my longer works. sincerely ~Archis

Hi Maarten and Luis, Thanks for listening and enjoying. Maarten, You are right about the interlude (waltz VI). I suppose I don't tend to write long melodies that aren't 'square' and got carried away in making people listen to it twice. Haha. When I say Viennese, I tend to look at Schubert and Lanner's waltzes and landler. I'm not a scholar about these things but I can definitely feel a difference between the Viennese waltzes from Chopin's which are more French with hints of Polish. I tried to bring out the 'starting slow and gradual rise to a tempo' effect which you will often find in Strauss waltzes when masterfully conducted. Sometimes Schubert's dances are performed like this too. Next, I tried to factor in the 'atempause' effect: a slight delay in the second beat of the waltz. Also, I tried to keep long stretchy melodies instead of flourishes in 8th notes like in Chopin waltzes. Of course, I didn't study much into it and wrote the stuff from intuition and learning by ear. ~Archis P.S. I use sibelius 6 for writing and Aria Steinway VST for execution. I try my best to modulate the tempo and dynamics but it is always a far cry from an actual performance. Why don't I just play them then? A bit out of my pianistic expertise. These waltzes I perhaps could play but I just don't have the time.

set of waltzes, nine in total, but stitched together in one. I have tried to keep the style Viennese, as opposed to the Chopinesque waltz that is generally written for the piano.Details:Waltz I: F major with variationsWaltz II: A minor, ends in A majorWaltz III: D flat major, with the Viennese characteristic Atempause rubatoWaltz IV: F sharp minorWaltz V: D major/F sharp majorWaltz VI: D major with trioWaltz VII: F major, an interludeWaltz VIII: C minor with trio in C majorWaltz IX: E majorCoda: With themes from Waltz I, VIII and IX.The software, of course, cannot do justice to the rubato. I reckon it would sound better when played. Tempo changes can be arbitrary, I just tried to make it how I would play it. Critique?