Allegro a-minor for violin+piano with score

Hi friends,

I would like to share with you my new finished piece,

Allegro a-minor for violin+piano, you can download the mp3 and sheet music below. Its 5,5 minutes long, I hope you will enjoy it. Of course also other instrumens like clarinet, oboe, flute ... can be take.

MP3: 4shared.com - online file sharing and storage - download violin-piano-a-minor-final.mp3

Sheet music PDF: 4shared.com - document sharing - download violin-piano-a-minor-final.pdf

Enjoy it.

Peter

this is a very very nice piece! congratulations!

i really like it :D good job

Hi friends,

I would like to share with you my new finished piece,

Allegro a-minor for violin+piano, you can download the mp3 and sheet music below. Its 5,5 minutes long, I hope you will enjoy it. Of course also other instrumens like clarinet, oboe, flute ... can be take.

MP3: 4shared.com - online file sharing and storage - download violin-piano-a-minor-final.mp3

Sheet music PDF: 4shared.com - document sharing - download violin-piano-a-minor-final.pdf

Enjoy it.

Peter

Great demonstration of a number of styles and usually the intended effect comes through but it doesn't feel like it takes me on a journey from beginning to end.

It isn't stated in what style this piece was intended but to me it is mainly in the classical romantic style. The melody is fine and overall it is quite well constructed and enjoyable.

There are some minor problems with the score such as (i) at m121 the violin playing mp is lost between the piano right and left hands playing mf - I'm not sure that is what you intended and if so, why? - and (ii) there is an accel. that starts in m94 and continues with a dotted line past past m101 where there is an a tempo - this doesn't seem correct.

But the main problem with the score is that it is very bare lacking phrasing for the piano and bowing for the violin. Also more dynamics and small tempo changes would bring out more of the emotion in the piece (assuming you are intending a romantic piece in the style of Schubert, Chopin or Liszt).

A very good effort which I think would benefit from some more work on the score to enhance the musical ideas. :thumbsup:

Hello. This is certainly a passionate piece of music but I feel there are two main things lacking. The first and most important is a middle section with a new tonality, texture and mood. By staying in a the same a minor and the same angry mood the entire piece, the audience gets bored and the piece isn't really complete in and of itself. A more lyrical middle section in C or A or any major key, or even a wistful middle section in a minor key would add to the piece. I also think that developing your idea a little more would add although you do develop the melody and in that respect your piece was well done. Your piece also accomplished very well the passionate, romantic even Beethovenesque feeling. My last criticism is that I think the piano part could have been written more intricately. For the most part its just runs and big chords and you often double the melody. Maybe giving the piano a larger role would allow for more dialogue between the two instruments and would allow for different textures. I dont like doubling the melody because there are so many more interesting things you can do: add a counterpoint in the right hand to the violin. A lot of the left hand is octave and this particular texture is striking but does get tiresome which is again why a middle section is needed. Most of your piece is f or ff. Just add a lyrical, wistful middle section and you'll be on your way. Good job though, you certainly know what you're doing.

Very well orientated, indeed. Yet something is missing, some paths may be further exploited. I like your statements, the mood, the confident melodic sense, that plain effective sequence on m. 59-..., the a tempo moment on m. 101-...! But there's enough room in 5'30 min to develop some of these ideas, to make a journey of it (in texture, harmony, instruments relationship, ...). Always easier said than done, I know...

Fine work. ;)

I thought the whole piece was absolutely excellent. I only wish I could write something even remotely close to this.

I almost hate to criticize the piece at all, but just as constructive criticism only, I felt that the ending wasn't quite as "majestic" as the rest of the piece. I just felt like it needed a little something different. I'm not even sure how to explain it. It would be very subtle and maybe not even require additional measures. I've been listening to the last couple of measures over an over again trying to imagine how I would end it to give it just a little more elegance at the very end.

What I've come up with in my mind is to leave the piano precisely the way it is, but on the last measure or two (I didn't download the score), have the violin play a high note or two as the piano descends to ending note. I can hear it in my mind. I just feel that the violin could contribute more to giving the ending a little more fullness. It might be a matter of playing just a single high note while the piano descends to end the piece. Or maybe even two notes. A fairly long duration high note, then a short duration passing note just a tad lower before playing the final note with the piano at the end. This is just what I hear in my mind when I listen to the ending over and over. I think that would make it fuller and give it a richer ending.

Just my thoughts. Overall I thought the piece was grand. Very professional. I enjoyed it very much.

This thread has 167 views and only 6 replies. I'm surprised. The piece is really good. It deserves a standing ovation. ;)

This piece would not be out of place at all on a CD entitled "Greatest Piano-Violin Pieces".

In fact, it might be one of the better pieces on such a CD.

It's really good.

this is a very very nice piece! congratulations!

i really like it :D good job

Thank you punkitititi!

Great demonstration of a number of styles and usually the intended effect comes through but it doesn't feel like it takes me on a journey from beginning to end.

Thanks Seraphim! I hope you didnt get too bored :)

It isn't stated in what style this piece was intended but to me it is mainly in the classical romantic style. The melody is fine and overall it is quite well constructed and enjoyable.

There are some minor problems with the score such as (i) at m121 the violin playing mp is lost between the piano right and left hands playing mf - I'm not sure that is what you intended and if so, why? - and (ii) there is an accel. that starts in m94 and continues with a dotted line past past m101 where there is an a tempo - this doesn't seem correct.

But the main problem with the score is that it is very bare lacking phrasing for the piano and bowing for the violin. Also more dynamics and small tempo changes would bring out more of the emotion in the piece (assuming you are intending a romantic piece in the style of Schubert, Chopin or Liszt).

A very good effort which I think would benefit from some more work on the score to enhance the musical ideas. :thumbsup:

Thanks Euler, I didnt concentrate for the fine tuning of the score look, I apologize for some graphical inaccuracy. I might improve it later.

Hello. This is certainly a passionate piece of music but I feel there are two main things lacking. The first and most important is a middle section with a new tonality, texture and mood. By staying in a the same a minor and the same angry mood the entire piece, the audience gets bored and the piece isn't really complete in and of itself. A more lyrical middle section in C or A or any major key, or even a wistful middle section in a minor key would add to the piece. I also think that developing your idea a little more would add although you do develop the melody and in that respect your piece was well done. Your piece also accomplished very well the passionate, romantic even Beethovenesque feeling. My last criticism is that I think the piano part could have been written more intricately. For the most part its just runs and big chords and you often double the melody. Maybe giving the piano a larger role would allow for more dialogue between the two instruments and would allow for different textures. I dont like doubling the melody because there are so many more interesting things you can do: add a counterpoint in the right hand to the violin. A lot of the left hand is octave and this particular texture is striking but does get tiresome which is again why a middle section is needed. Most of your piece is f or ff. Just add a lyrical, wistful middle section and you'll be on your way. Good job though, you certainly know what you're doing.

Thanks J.Br, I apreciate your suggestions much, I might modulate more in next piece and add more motifs. Just one thing I would take in liberty- its not in a-minor all the way, there is also modulation to B-major and than modulated e-minor part, just to be serious :)

Very well orientated, indeed. Yet something is missing, some paths may be further exploited. I like your statements, the mood, the confident melodic sense, that plain effective sequence on m. 59-..., the a tempo moment on m. 101-...! But there's enough room in 5'30 min to develop some of these ideas, to make a journey of it (in texture, harmony, instruments relationship, ...). Always easier said than done, I know...

Fine work. ;)

Thank you "all the things you are", I developed the introducing melody, played with it, maybe I should do more next time :)

I thought the whole piece was absolutely excellent....

Thank you Abracadabra, i am glad you enjoy this (and the others as you wrote in the piano section :-) I just did post this piece there originally and it has been moved here be the admin. As for the ending of this piece, I didnt wanted dramatic end and the piano part works for me as clear end, adding one more time V-I would be cliche :)

Well, in truth I probably shouldn't have even said anything at all. I just listened to the piece again right now, and there's absolutely nothing wrong with the ending that it has. It's perfectly fine.

I think I just didn't want the piece to end so I had to complain. (ha ha)

It's a great piece, no question about it. I have a hard time finding good piano music on CDs. I think your pieces are all superb, so don't give too much concern to my complaints about the endings. Just take it to mean that I don't want them to end. ;)

There's nothing wrong with your endings. Your pieces are just too good to be ending!

That's the whole problem right there!

They shouldn't have ends at all, they should just keeping going on forever.

Well, in truth I probably shouldn't have even said anything at all. I just listened to the piece again right now, and there's absolutely nothing wrong with the ending that it has. It's perfectly fine.

I think I just didn't want the piece to end so I had to complain. (ha ha)

It's a great piece, no question about it. I have a hard time finding good piano music on CDs. I think your pieces are all superb, so don't give too much concern to my complaints about the endings. Just take it to mean that I don't want them to end. ;)

There's nothing wrong with your endings. Your pieces are just too good to be ending!

That's the whole problem right there!

They shouldn't have ends at all, they should just keeping going on forever.

Hi Abracadabra, its very motivating for me that you like my music, thanks! Should I be some day frustrated Ill read your nice words again :)

Should I loop the end to the beginning to avoid end? - just kidding :)

If you are searching for some really perfect piano works, I must recommend L.v.Beethoven, especially his piano sonatas and concertos (piano concerto Nr. 3, c-minor is a Must!) Maybe you have it already.

Beethoven's Waldstein is my most favorite piano piece ever. ;)

It has been ever since I was a teenager, and I have yet to find anything that has surpassed it and I'm almost 60 years old now!

I just love it.

Of course, there are a lot of other great piano pieces too. But that one has always been my favorite.

Speaking of looping,... you could just make them longer. ;)

Waldstein is a pretty long piano piece. The first movement alone (my favorite part) is over 10 minutes long. But the last movement is also about the same length.

So he was trying his best not to end them. (ha ha)

Don't be afraid of making them too long. I'm sure a lot of people feel the same way I do about your pieces. Just keep on writing, don't worry about keeping it under so many minutes. Maybe when you get up into the 15 minute range you might want to think about ending it just to give the pianist a break. ;)

Beethoven's Waldstein is my most favorite piano piece ever. ;)

It has been ever since I was a teenager, and I have yet to find anything that has surpassed it and I'm almost 60 years old now!

I just love it.

Of course, there are a lot of other great piano pieces too. But that one has always been my favorite.

Speaking of looping,... you could just make them longer. ;)

Waldstein is a pretty long piano piece. The first movement alone (my favorite part) is over 10 minutes long. But the last movement is also about the same length.

So he was trying his best not to end them. (ha ha)

Don't be afraid of making them too long. I'm sure a lot of people feel the same way I do about your pieces. Just keep on writing, don't worry about keeping it under so many minutes. Maybe when you get up into the 15 minute range you might want to think about ending it just to give the pianist a break. ;)

Yes, Waldsteins sonata ist great, but my favourite one is the Appassionata from his sonatas. And all 5 piano concertos, all symphonies, string quartets and everything I heard until now :) And so Mozart! I am very thankful that they lived and made their music!

Yes, Waldsteins sonata ist great, but my favourite one is the Appassionata from his sonatas. And all 5 piano concertos, all symphonies, string quartets and everything I heard until now :) And so Mozart! I am very thankful that they lived and made their music!

Yes Appassionata is another great one. Also quite lengthy.

Keep writing!

Someone in the future will be saying that they are glad that you lived and made your music!

In fact, I'm already saying it! :)

First off, reading your prior entries I think this piece was inspired by the Kreutzer sonata. If you have not studied it carefully I would.

Overall very good work --- depending on how long you have been composing.

My suggestions FOR YOUR NEXT CHAMBER piece -

a) As in a prior comment there needs to be more dialogue between the violin and piano. Usually one doubles the other or picks up the accompaniment. For example, the ending with the arpeggiated dominant could be taken by the violin, the piano can answer with the tonic or surprise us all with a deceptive cadence and a digression that leads to a conclusion.

b) Overall the thematic material is handled well and convincingly. One exception - the trills in the piano and the short figure which proceeds it. It seems to be more "pianism for pianism's sake" rather than having much td do with the piece --- UNLESS, you have the violin do something with it.

c) Actually I disagree with the need for a middle section. The dynamic did go below f but the problem is the music tends to overemphasize the strong beats (usually 1 and 3 or just 1). Either by having the accompaniment figures always move bottom to top or accented by articulation or with doubling. Ocassionally you break this habit and it shows promise! I advise you conduct your recording of the piece to understand better my point. Also, look at pieces which "cross the bar" -- jazz improvisers will tell you this is one of the keys of creating great improvs, it is also one of the keys to writing great music. What it means is a melodic phrase or accompaniment crosses several bar lines creating more long term strong and weak beats (Beethoven, in my opinion was the precursor to jazz and rock and roll because of his great rhythmic experiments). Great example is the opening of the Waldstein where the repeated C major chords start after the eighth note C and proceed for 6 beats (total 6.5 beats), a dominant of V for 1 beat and then to the g major chord for 8. At the same time the melodic material goes for 16 beat, but it is divided in to 3 + 1 bars. So, Beethoven avoids overstressing the 1 of every 4 beat by the difference in length between his chordal/harmonic material and melodic/motivic material as well as the irregular lengths of each of these. Note though, the phrase is 4 bars. Lastly, you can cross the bar igenously with rests and fermatas. In the Waldstein, after 12 bars, we have a whole note G which is held. The fermata disrupts the regularity of his period and increases the instability of the next statement of tremelos. Naturally a great way to destroy the 1 st mvmt of the Waldstein (and I have been guilty of this) is to emphasize every first (and/or 3 rd) beat making it a very irritating, tiring march. Unfortunately one of the challenges of this piece is to "cross the bar" by avoiding this and bringing out the larger rhythmoc structure.

Look forward to hearing more of your work.

Yes Appassionata is another great one. Also quite lengthy.

Keep writing!

Someone in the future will be saying that they are glad that you lived and made your music!

In fact, I'm already saying it! :)

Thats a big exaggeration, really, what I wrote cannot be compared with those works of the masters :), but if some do enjoy it, thats my satisfaction! I want to write more, but I have reduced the time at the piano just to 10 minutes a day since I am too busy :(, but I have some new motives in F-Major and modulation to c-minor, maybe again violin and piano?

First off, reading your prior entries I think this piece was inspired by the Kreutzer sonata. If you have not studied it carefully I would.

Overall very good work --- depending on how long you have been composing.

My suggestions FOR YOUR NEXT CHAMBER piece -

a) As in a prior comment there needs to be more dialogue between the violin and piano. Usually one doubles the other or picks up the accompaniment. For example, the ending with the arpeggiated dominant could be taken by the violin, the piano can answer with the tonic or surprise us all with a deceptive cadence and a digression that leads to a conclusion.

b) Overall the thematic material is handled well and convincingly. One exception - the trills in the piano and the short figure which proceeds it. It seems to be more "pianism for pianism's sake" rather than having much td do with the piece --- UNLESS, you have the violin do something with it.

c) Actually I disagree with the need for a middle section. The dynamic did go below f but the problem is the music tends to overemphasize the strong beats (usually 1 and 3 or just 1). Either by having the accompaniment figures always move bottom to top or accented by articulation or with doubling. Ocassionally you break this habit and it shows promise! I advise you conduct your recording of the piece to understand better my point. Also, look at pieces which "cross the bar" -- jazz improvisers will tell you this is one of the keys of creating great improvs, it is also one of the keys to writing great music. What it means is a melodic phrase or accompaniment crosses several bar lines creating more long term strong and weak beats (Beethoven, in my opinion was the precursor to jazz and rock and roll because of his great rhythmic experiments). Great example is the opening of the Waldstein where the repeated C major chords start after the eighth note C and proceed for 6 beats (total 6.5 beats), a dominant of V for 1 beat and then to the g major chord for 8. At the same time the melodic material goes for 16 beat, but it is divided in to 3 + 1 bars. So, Beethoven avoids overstressing the 1 of every 4 beat by the difference in length between his chordal/harmonic material and melodic/motivic material as well as the irregular lengths of each of these. Note though, the phrase is 4 bars. Lastly, you can cross the bar igenously with rests and fermatas. In the Waldstein, after 12 bars, we have a whole note G which is held. The fermata disrupts the regularity of his period and increases the instability of the next statement of tremelos. Naturally a great way to destroy the 1 st mvmt of the Waldstein (and I have been guilty of this) is to emphasize every first (and/or 3 rd) beat making it a very irritating, tiring march. Unfortunately one of the challenges of this piece is to "cross the bar" by avoiding this and bringing out the larger rhythmoc structure.

Look forward to hearing more of your work.

Hi, thanks for your suggestions! I would like to improve the dialogue between the instruments for the next chamber piece. Its a long time ago I listened to the Kreutzer sonata, of course I have it, so I will listen again and have a look at the score later. BDW I suggest also the novel by Tolstoi with the same name :):):) (but I dont identify myself with the message of the book :)

A friend if mine asked me to transpose the violin part into alto saxophone part, so maybe some of you may have use of it also and I post it here. Of course the piano part remains the same :) He has also a good pianist there, so maybe they will record their performance.

Alto saxophone part:

4shared.com - document sharing - download Alto_Saxophone.pdf

Peter