Chansons M

Greetings, fellow YC members! :)

Introduction: I would like to present you my latest endeavor. It is a cycle of 'chansons sans voix' (and feel free to correct my french), in which the role of the voice is played by either the violoncello or the viola.

Concept: The concept behind this cycle, was to create a work in the romantic idiom, with an overall, almost cheesy, emphasis on the melodic work.

Techniques: a bit of chromaticism, a lot of secondary dominants, quartal harmony, some motivic development and light counterpoint, when appropriate.

Performance: on the violoncello/viola: expressive, soulful playing and masterful vibrato. Accurate intonation and a good range of dynamics. On the piano: ability to easily switch between accompanist and soloist, ability to easily cover 10ths.

Structure: Quite straight-forward. A couple of themes and a bit of sonatoid development.

This is the first song, 'chanson automnale'. I have 2 more which are quite close to completion.

MP3 rendering:

Chanson Automnale

Any comments are welcome!

Chanson Automnale.PDF

Manos

Very nice variations on the theme and great work with the cello.

Also some real nice chromatic runs in this for the piano.

The last note for the cello seems odd but it does work.

Overall, a nice piece from you after a shorter absence this time.

Ron

Nice thoughtful intro. Cello intro was very well done. I feel that the theme was very.... em... generic. This is a cello piano duet.... right? 1:58 seems random. Your climaxes should come after substantial development. ??? 2:46 ??? You spontaneously end the laments of the cello with a burst of dissonance. It seems... as I said earlier, random. The piano seems to have a crucial role in this piece, yet its bass line is basically quarter notes and eigth notes through the piece. This isn't wrong, but it might be slightly disinteresting to the piano player. Ahh ok at 4:08 it gets a little more interesting. I am really happy that the original theme wasn't forgotten. ABA format... I'm guessing. At 5:33 the climax was appropriate. Oh... the ending.... I think you should end with a repeat of that octave line in the piano, then a PAC (V --> I) Just to make it more final.

Overall very well written. The theme was slightly generic and I felt that the piano had the spotlight for the majority of the song instead of the cello. The ending made me wish for more. Good Job.

@Ron,

I'm so glad you liked it! I was worried you might rant about the absence of dissonance and unorthodox voice-leading! :P

The final note is a C. And the piano plays 4 C's. I guess it's the overabundance of 'grey' consonance that gives you that feeling? :)

I was absent from the forum, but not from my beloved manuscripts...

Thank you for listening...

@maelstromtempest,

:O that is a thorough review, so I'll try and get what I can out of it!

You say 'generic'...what do you mean by the term (I'm not a native english speaker...)?

About 'randomness'. At 1:58, I hoped this would 'punch in' the second theme. At 2:46, I hoped to break the feeling created by the second theme and introduce the variation that follows. You are very right on developing before a climax (at least in this kind of music, where I intend to sound true to the romantic idiom), but, since I have 2 more chansons in the same vein (romantic and slow and sad), I wouldn't want to fatigue the listener's ear. Thus I chose to develop just a bit.

About the piano part; you are so right, since I'm no pianist, but I feel that there's plenty of challenge for a moderate-level pianist here.

Thanks for the feedback and taking the time to listen and review! It's very important to me! :)

Between a first listening and a -want to grasp more of it- second the piece turns boring.

claudio,

thanks for taking the time to listen to my music. Could you elaborate on what you believe makes this piece boring for you? This procedure helps me become better in composing, so I would appreciate that a lot! :)

manossg

Could you elaborate on what you believe makes this piece boring for you?

Claudio

No, not really.

But I will be glad to post my compositions in future times to come :-).

Feeling helpful, aren't we? :iffy::thumbsdown:

Whatever you say Mr. Mannossg :-).

Hello Mr. Mano,

I have seen/heard this before so it's not a surprise and it's my 2nd visit (at least 2nd! I think I've heard it more than twice).

The melodic material is very well used actually and variations is an excellent exercise for a composer. It's always difficult for all composers to create variations on a theme, this is why so many did it (as a challenge) and why it is on the diplomatic exercises of composition in Greece (where you are given a theme and need to provide 5-6 variations at least for quartet, piano + solo, or woods quintet).

It's hard, that's why. How to stick to a theme for a long time, how to be coherent, without being boring, how to make it happen, by only using 2/8ths and a longer note (your main motif).

I have to say that you largely succeeded!

I will also confess that it can turn a little boring, but I'd think that it's the fault of the generic mp3 mock-up, rather than anything else. Had you a pianist and some mics you could create a much more interesting take.

The parts are not challenging, even if there is an 11th on the left hand (E-A) which is rather hard, but not impossible to perform, even with a small arpgeggio, so you're fine there. But they do tend to repeat themselves. It could be a bit shorter.

The glimpses that you gave of somewhat dissonant premises were a real surprise, everytime I listened to the piece and workedI will be coming in Greece on the 5th of Julyvery well, although out of topic in all truth. I mean it is exactly like I've told you before. When you discuss something with someone you don't stop, say something completely different and then keep on like nothing's happened, do you? It's somewhat rude, one could say. Should you do it more than twice, or ellaborate a bit further it could be an innuendo, a tease, maybe taking the pissWe might be moving to Athens around Septemberon the other party. But with only 2 instances... Then again this is a suite and I would heavily expect something to happen towards the ending.

I hope I make myself clear... ;)

The score is quite clean and well done on that! The music as "genre" (blah! I hate this term) reminded me a bit of minimalistic music, on the sorts of the guy who made "the belly of the architect"? fail to remember his name really... And Glass a little as well. :) Which is extra good in my books!

So just finish the other 2 and post them. and find a pianist to record it with him/her.

Nikola,

thank you!

Variations and development are my bigger obstacles currently and your telling me that I succeeded in that is very important to me.

I agree with you, the mp3 rendering tends to sound a bit 'dry'. I hope that this will be remedied by a good performance!

About the difficulty level, my intention was it for it to be moderate level, so that it could be easily performed.

On the 'dissonant' parts (I don't find them particularly dissonant), my intention was explained to maelstromtempest previously; to surprise the listener, and maintain interest!

I'm very happy that you found that the score is ok and, yes, given the first chance, I'll get my trustworthy pianist and record it! :)

Cheers!

Edit; the composer you mentioned is Wim Mertens. A favorite of mine and (apparently) a heavy influence! :)

I enjoyed the piece so much, but I would've liked to hear a more interesting keyboard part where the cello has the ostinato. It seemed a bit bland, and I was hoping for a featured section for the keyboard, with

Monsieur le Sax,

thanks for listening...your feedback is very useful...I think I'll create more interesting (but I hope of the same difficulty) piano parts in the next chansons!

Cheers!

Hello Manos!

I agree with Nikolas' comments on your piece. I enjoyed your piece's melodic material, but I'd like to hear a more complex elaboration of it. As it is, it does share a resemblance with some minimalistic works, notably because of the more or less steady harmonic rhythm and the limited alterations of the theme. The only thing that I didn't like was the bridge in m. 38 - 42. It sounded very abrupt and alien to what preceded and what followed it to me...

Alexandros

Alexandre,

first, let me welcome you to the community! Another Greek, yay! :)

On the harmonic rhythm, I wanted just that.

On the alterations, my aim was to provide some development, but not a full-fledged one.

On the bridge, I believe (and hope:w00t:) a soulful interpretation will heal this problem!

Cheers! :thumbsup:

Hello Manos!

Thanks for the welcome! Yes, it was a pleasant surpise for me too to see Greek people here!

On the harmonic rhythm, I wanted just that.

On the alterations, my aim was to provide some development, but not a full-fledged one.

On the bridge, I believe (and hope) a soulful interpretation will heal this problem!

I believe then that your piece illustrates successfully what you were aiming for! And I agree that live interpretation brings to surface hidden beauties that cannot be seen or heard from a more or less "mechanistic" computer playback!

I am looking forward to hearing more from you!

Alexandros