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Lotsy piano

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Everything posted by Lotsy piano

  1. @Luis Hernández You are right, it's probably TOO short :D, I wanted to make it short because I wanted it to have similar possible function as the "standard" length of the "Happy Birthday To You"-singing on a birthday party. I ever saw birthday videos on YouTube that people were singing some kind of choral version of the Happy Birthday song, and it was almost 5 minutes long, it was great, but I thought it's too long for that purpose, although probably I fall into the other end now 🙂 Probably in the future I will try to make a longer version of it.
  2. @Luis Hernández @i(don't)suckatcomposing Thank you very much for your corrections! I've learnt something today again, that's why I like this forum! :) @J.Santos Ah yes you are right about that part (the scale-sequence part, right?), it also really Mozart-sounding, so that's another good spot! It really reminded me to the KV 545 1st movement's same type of scale-sequence, it starts with a short arpeggio/brokenchord upwards, then the scale goes down, and then the sequence repeats a note lower diatonicly (diatonically(?)).
  3. A very short simplified stride piano arrangement of Happy Birthday song, inspired by stride pianist Fats Waller: I'm planning to revise this in the future, because at the moment I don't feel completely satisfied with it, especially not with the ending. Originally I had a little extra right hand melody at the very end, but I didn't like that either, so I just left it like this for now. Any feedback is welcome! Thank you for help! Have a happy weekend Everybody!
  4. As an organist, I don't know much about Mozart and I seriously lack of classical-classical experiences (I mean for ex. not classical-baroque, and not classical-romantic, but classical-classical), but from the Mozart pieces I've heard through my life, your piece has some really Mozart-y sounding parts for sure. Particularly my favorite parts are which I think they sound the most Mozart-y, around 0:03 "Di - Re" ("C# - D" in your piece's key), and around 0:09 the "Ri - Mi" ("D# - E" in your piece). I think this type of half-step (most of the time from bottom to the top(?) I mean stepping up a half-step we could call it one of Mozart's signature pitch-writing. As a mini-tip: I think you can do this half-step-up-melody-trick on almost any note, except "Li - Ti" ("A# - B" in C major key), because "A#" or "Bb" however we call it at the place of the context in C major key most likely it would sound like the "Fa" note of F major key, it would sound like the "Tay" note of C dominant chord, and "Fa usually want's to go a half-step down, instead of down, at least in the case of a C dominant 7 chord, if you would play for ex. a C dominant 7 chord and then a G or a G dominant 7 chord to force the A# go half step up to B, then I think it would not sound right in a classical-classical context, it would sound almost like a certain part of a blues chord progression especially if we would chose to use only dominant 7 chords. Probably I wrote this explanation unneseseraliy complicated and too long, sorry about that 🙂 It's not that important, but in an easier way I could say that my tip is that I think you can do these half-step-Mozart-y-pitch-writing: C# - D D# - E E -F (probably even F - F#) F# -G G# - A (but CAN'T do A# - B) B - C too I guess I can't explain well why I think this, this is just my intuition, probably I'm wrong somewhere, others might tell us where. Another little thing is that I think the Alberti-bass was a good choice to start with, I think Mozart liked to use it a lot! As I wrote earlier I don't know much about Mozart, but these are the things that I've noticed immediately even by not knowing Mozart too much so you made even me recognize the essence of Mozart in your piece, so I think you are on the right track!
  5. @panta rei Thank you very much for your kind comment, I really appreciate your encouraging words! I can't remember any (specifically)piano etudes that uses this same pattern, because I'm not a pianist, but I'm an organist, and in my school organists had to learn some (usually easier-intermediate level) piano pieces and I remember playing patterns like this one in some mandatory piano piece which I forgot the title, but I think it was Haydn, which was a little bit surprising to me, because at that time I considered this pattern as a typical baroque pattern, and I actually almost never learned any classical piece on the organ (I mean classical classical if you know what I mean :), not classical baroque, but classical classical), my only classical piece was a 4-handed 4-feet organ arrangement of some less known classical composer whose name I forgot by now, but as an organist I can say that this pattern in organ music (at least baroque) is very common, probably most common in preludiums or toccatas especially when the composer want his piece sound flashy. Even earlier baroque like Buxtehude pieces has this pattern many times (not as a whole etude piece, but maybe just a short part of a toccata or something like that), so I thought I will try to make my first etude with this kind of "standard" pattern, because I wanted to keep things simple for the first try. I think it's a good idea that you and J.Santos (an now me too :)) write etude with the same pattern, because this makes it a little bit easier to analyze our pieces (if we want to analyze them), because we don't really have to analyze anything about the pattern itself, so this way it becomes easier to learn from eachother's pieces which is always useful I think. I'm looking forward to listen to both of your etudes, I'm sure they will be great! I checked your musics too, and I think I can definitely can learn a lot of tips/tricks from them! Happy composing and happy weekend! :)
  6. @Left Unexplained I think in a way we all are beginners, we all have things to learn, I came here to learn too, so don't worry about a thing :) Actually I have the same experience if something is new to me, even if it's not really something special (and I guess that's the way for everyone). There is a saying(?) in my native language that in English would sound something like this: "Every joke is new joke to a new born baby." I guess we all are here to hear new jokes, and that's the fun part of whole forum too :)
  7. @J.Santos Thank you for your thoughts J! 🙂 I will consider your Étude in C major title idea! If you find something interesting in my music that you like very much, you can copy some of it to your music, I don't mind at all don't worry. I'm here to learn too, as we never stop learning, so let's learn together! 🙂 (PS. Maybe you missed the clef change, the last 2 bars are in treble clef, but I think the smaller size of that treble clef makes it easier to miss, especially if the sheet music shows only 1 staff line at a time (1 or 2 or 3 bars in this case), especially sight-reading fast stuff, which I'm very bad at, in my country we don't have (at least I never ever had) sight-reading exams or exercises or class, etc.. I have a bachelor organ diploma (3 lines of staff for 2 hands and 2 feet), but I'm terrible at sight-reading, if I could go back in time, I would learn to sight-read much better before I start to learn my harder and harder pieces, that way I would learn at least the new notes much faster too, because the way I had to do is just to memorize the cr.. out of it 🙂 and that made my learning time painfully slow while I was in the "learning-new-notes"-phase of the new pieces, so my sight-reading level is at around Grade 2 ABRSM piano, Grade 3 at best))
  8. @Luis Hernández I was thinking a little bit, and I think I write very little instructions/symbols in my sheet music, because I got used to that when I was an organist (on paper I'm still am, but I don't play, because I moved to a place to marry where there is no organs or churches and nobody cares about organ, so I "stuck" with piano 😄 but actually I like piano about the same as organ, so I'm lucky that this little switch was never a serious problem for me, although I can't play the piano that well, my playing is especially bad in this Etude video, very imprecise, I can't get used to my digital piano's keys, it's weighted but it feels weird when I have to play something fast, I feel like my fingers are moving in the empty air or something, unfortunately at the moment I don't have the money to buy a grand piano not even a pianino, but probably I don't really need that too, I don't want to be a concert pianist, just a piano-composer, so I guess I have everything I need now little bit, with this digital piano 🙂 )
  9. This my very first piano etude. I'm not very good at identifying the grade level of different pieces, so I just say it is around "easy-intermediate" level. 🙂 I was thinking a lot, what should be the title of this, and finally I've found a very creative title for it: Etude No. 1 The ossia staff line is there just to allow people to play the piece easier who have smaller than 9th white keys interval hand-size. Thank you for your feedback, and have a funny day Everybody 🙂
  10. Hello! 🙂 Overall I like it, it has a nice harmonic-world, and it is pleasant to listen to. Sometimes I've had the thought that it starts to become a little bit boring because of the little changes through the whole piece (at least rhythm-wise), but at the end of the piece I felt some kind of completion, so it didn't really bothered me. I can't point out specific areas, because I think the whole piece sounds kind of the same at any point, which I guess was your aim, because it creates a mood, and stays in the same mood, and it still stays in the same 1 mood when you play higher notes or lower notes, I don't think there is any problem with that, but I think people must have a certain mood or a certain mindset/state(?) to enjoy this type of whole piece. I would put it into Satie's "Furniture Music" genre 🙂 I think this is a well done job, but don't listen to me only 🙂 I have a feeling the minimalist(-ish) music is pretty divisive, because not everybody likes a lot of repetition in music (although I like repetition, but most of the people don't really like, at least that's my experience, at least in the classical music world, but "non-classical" music like pop or techno and stuff like that, those kind of things are built on a lot of repetition, so maybe that's why most of classical musicians don't really like those, but maybe it's just my opinion, well at least it's my experience 🙂 ) So I think the best to do now is to just wait a little more for a few other people's opinion too, so you will see what kind of ideas others can give you. (PS. sorry for the wall of text here, I don't know why I type a lot sometimes, maybe it's just one of our pianist thing 🙂 )
  11. @Luis Hernández Thank you for your thoughts! I think you are right, I almost never write any pedal symbols in my piano music, because I always see multiple different correct sounding solutions (at least they both sound correct to me), so I just don't write anything there, because I also don't want to feed the strictness what I experienced through my music high school and music university years, many of the teachers there were very strict about how exactly we should follow all the symbols and instructions in the sheet music, and I just can't agree with that too much, because it sucks out most of the creative part of performance, and that's bad for creative performers. I think without a lot of freedom in the sheet music, performing it will be just a task, without any serious decision making, and without any opportunity to decide between stuff, there is no place left for creativity.
  12. @Left Unexplained Thank you! 🙂 Really, you think they are inventive? I didn't think about them like that, but I'm happy if you find them interesting. Maybe they really sound kind of inventive compared to the not really inventive first 2/3 part. I guess it looks like they make good contrast then 🙂
  13. Thank you Tónskáld! I aimed for "easily acceptable" dissonance that I would still consider easily accessable music for casual people who don't really play music or anything, but maybe go to concert or something like that. Yes, I suspected that's what he meant. I'm also not really good at talking about music theory, especially in English, I don't know a lot of musical words about music theory in English, although I'm trying to learn, sometimes I watch some YouTube videos about some interesting case of music theory things, and I can even hear the words pronunciations too, usually I don't have much problem listening to english words, I can write most of them down by ear usually correctly, but I don't know their meaning so I have to put them into a vocabulary website thing
  14. I wrote this about 3 or 4 years ago, I don't remember exactly, and I re-recorded it, because I noticed that my old recording had a wrong note (wrong rhythm) in the recording, although there are a few places in this where I overdo the rubato and because of this sometimes it sounds almost like wrong rhythm, but I almost never write tempo markings or really anything performing-instructional(?) texts into my sheet musics because I want to give the freedom and the puzzle to solve to the performer, because in my opinion, most music has multiple performing solution, so here is the video: What do you think about the rubato? Do you also think I overdo it? Thank you for your help, have a nice day Everybody!
  15. Thank you for your kind comment! My English is not so good, so can you please tell me in different words, what do you mean by "harmony by 2nd"? Thank you again. :)
  16. Hello Everybody! 🙂 My goal with this piece was to keep it minimalistic composing-wise so I can keep a consistent mood easier, and also "effort-wise" in other words I tried to make it easy to play, and also keep it pretty short, so hopefully a few of my piano students can play this without any serious difficulty problems. I haven't showed them yet, I'm interested in your opinion first! 🙂 ), so here it is: Thank you for your thoughts Everybody have a nice day! 🙂
  17. Hello Everybody! 🙂 Is it important to keep track of the date of our finished music? Do you all write the date on your sheet music when you finish it? I would like to know why is it important, because at the moment, I can't think of any reason that's good enough for me. (I have my own ideas why it could be important to do that, but I don't want to write it here, because I would like to read your opinion first.) Thank you for your answers! Have a nice day Everybody! 🙂 Regards, Lotsy
  18. I thank you for listening and for your kind words Guillem! :) If you are interested in minimalist music, you should check out Philip Glass or Steve Reich for example, or if your want a little bit more "church" sound with a little less short phrase repetition (less than the previous 2 guys) then you might want to check out Arvo Pärt, or if you want a little bit more "pop" sound in a good way then you might want to check out Max Richter (post-minimalist(?)). Have a great time on your music listening journey tonight! :)
  19. Thank you for your kind words and thoughts, Tónskáld! (I can type that haha :) ) Yes, that was my thought too! I thought people will think that why would I want to make it look hard while it sounds so simple, originally I am an organist and we usually read 3 staff lines anyway (although I don't, because I have to remember them, meaning that I'm terrible at sight-reading :) ), but I moved to another country because of some private reasons and where I live now nobody has any interest in playing organ, so I just teach piano, and that's how piano became my main focus, although I always loved piano, it was my 1st instrument after all :) Your comment encourages me to try and break through my next writers' block in the future, special thanks for that!
  20. Hello Selcukozer! :) I think the sound world of the piece is nice, it sounds good in a way, (nothing really sounds like wrong note or anything like that, if you know what I mean), but what I would consider changing maybe is something about the left hand, particularly the bass notes, for ex. the very first A major chord's bass in your song is E, which makes the chord really an A/E chord, the E bass note makes your A broken chord sound somehow unbalanced or a little bit weird (in terms of function), because E is the dominant (5th) note of A major chord, and we usually use the dominant note as a bass only in specific places like writing a finishing part of a music, the dominant note usually leads to the tonic note, especially if it is a bass note. I'm sorry I don't think I'm the best person to help you with this in English language, but I haven't seen others writing here, so I thought I will try to help a little bit. :) So if you would change your A major and soon after C major broken chords' bass note from E (of A major), and from G (of C major), then it would sound way more natural. So, from lowest to highest notes, now your notes are these: E A C# A I think it would sound much better if you would put the "A" note in the bass at that part, like this for ex.: A C# E A Now this might mean that you have to change a few notes before that or after that, for example you might have to change a few notes in your D-minor broken chord so it will move smoothly into the A major broken chord, there are many solutions for that, I suggest you experiment with that a little bit, I think it can be a really useful exercise. Good luck! (If you stuck, I can send you a few examples of mine later, just ask me.) Simply said: Just invert the chord, because the inversion you are using now with your A major and C major in the beginning for example make the wrong suggestion/feeling, because it sounds very dominant-like because of the reasons I typed above.
  21. This is my first try in writing minimalistic music. I am not sure if I keep this title, but at the moment "Random Flow State" was what I could come up with, and it's going to be a part of a series of short minimalist pieces (I haven't decided the title of the series too, but at the moment I thought "Minimal Minutes" sounds good enough.) (I don't think it's the "hardcore" minimalistic style, but I aimed for have minimalistic feel to it at least). This piece born out of composers' block, actually I sat down at the piano for long time (almost for an hour) and I hadn't have any good ideas yet, and I almost gave up composing for that day, and I got this idea from nowhere, so I wrote it down before I forget, and refined it a little bit. At the time when I was writing it down I felt like it's an awesome song and everything, but now listening back to it later I think it's really boring 😄 but I guess that happens to many of us. Although I've noticed that, if I am in a certain mood or state of mind, than I enjoy this again, for example when I feel very tired, when I'm very tired my brain doesn't uncontrollably(?) analyzes everything (I'm a fellow nerd, nice to meet you 🙂 ) then this piece has a very different effect on me and I quite enjoy it. Do you have the same experience sometimes? (Not with my song, but any song, your songs for ex.) What do you think, what's the reason for this? (I have my guesses, but I am interested in your opinion about this question too!) Anyways, Everybody have a nice day, and I wish you don't have composers' block! 🙂 (PS. the ossia bars are just there for easier to play, so it's optional, there is one jump in the left hand that I myself couldn't play well enough too, and I was lazy to practice it, so I just edited in the DAW afterwards, although I don't think this piece is particularly hard, maybe just looks weird with a the 3 staff going on, I didn't like the messy look with 2 staffs only)
  22. Thank you J.Santos! Very much appreciated :) It always gives me some extra motivation for composing next time. I am planning to do a similar thing with a different composer and a different piece, I will share it here again, when it's ready. Have a great day!
  23. Hello Luis! :) As you say on your profile your style is eclectic, and pitch-wise I can definitely hear that, but on the rhythm-side of the things everything sounds a little bit more strict (at least to my ears), and this is something that I want to try out too one day! I've got another idea from this: What if we compose a song by chosing 1 song from any composer, and use all the same rhythms, but change all the pitches? Is that a thing? Does that "technique"(?) has a name? Sorry, I digressed a little bit :) Anyways, nice composition, Sir! I enjoyed listening to it!
  24. Hello Monarcheon! 🙂 I like your piece, and maybe it sounds a little weird, but I get almost the same effect from your music here that I get from listening minimalist music, although your music here doesn't have that typical hardcore minimalist repetitiveness (for ex. many of Philip Glass stuff is very repetitive to me (and I guess objectively also really repetitive)), and actually I like repetitiveness in music. I am an organist with a bachelor diploma teaching piano and everything, but I grew up on techno and trance music :D, and believe it or not, I still enjoy techno about the same as classical music, although at the moment I'm not really interested in making techno tracks 🙂 Anyways, what I want to say is that repetitiveness puts me in some kind of focused state, almost meditative state (although I don't know how to mediate), it puts me into flow state I guess that's a better term for that, usually only very well balanced or very repetitive music can do that to me, and your music here is not particularly repetitive, but as others previously said about balance I can also clearly sense some kind of birds-eye-view balance, which I think is one of the hardest thing to achieve (to me at least), so hats off to you! 🙂 (PS. I've found your Café music on Youtube, it's lovely!)
  25. Thank you so much for your encouragement! Sometimes it really helps and gives me a new unit(?) of stamina, which I'm going to use to compose new things of course :) Have a great day Markus! (sorry I seriously have to work on my English vocabulary)
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