October 9, 200817 yr You know it's quite good. I thought the contrast between the first real big section and the second very melodic section was very sharp. I'm not sure it works as well as it could have. Still, it's a great piece, I really like it. Very good.
October 9, 200817 yr I think playing that score would be quite hard, like the dotted quaver rests, would be very hard, no?
October 9, 200817 yr I think playing that score would be quite hard, like the dotted quaver rests, would be very hard, no? Depends on the abilities of the performer. This score is actually quite easy to follow compared to similar scores in a similar style. I LOVE this piece. It's compositions like this that give me hope for young composers and keep me coming back to this forum. This is one of the best original pieces I have seen on this forum in a very long time. And your score looks SPECTACULAR. Wow. I can't decide if the tremolo octaves theme works as well as you had hoped, but overall this piece is amazing. The overall textures work quite well and while I thought they would be too heavy visually, they sound GREAT! And that last chord just makes hairs stand on end. LOVELY!
October 10, 200817 yr Author Thank you for your comments! The piece is indeed quite difficult, but not so much as to be considered unplayable. Perhaps, the most challenging aspect of the score is the low tempo in relation to the complex rhythms. Because of the fact that I often use complex rhythms, I always try to notate my scores as clearer as possible (though at times in a bit unconventional way). I have yet many things to learn regarding notation, but thank you for your comments, dear Sean. The octaves serve as a connecting element with the beginning of the piece (notice the A - Bb - G# - A motif at the beginning and the Eb octaves at the end of first page) and as an establishing element to tonality. Morgri, thank you for your comment. Perhaps, you are right regarding the sharp contrast between the two sections (actually the whole piece is one big section which is transforming itself). I've heard the piece many times, that I've become quite accustomed to it and I can't perceive that. Alexander
October 10, 200817 yr this sounds nice like ice and the dice. i liked the second half most with all that 'killing the rhythm' thing, though thought it could've transformed a bit slower and took longer time - i really loved that moment, so it was quite sad to have it gone so quick ;(
October 10, 200817 yr I really enjoyed it. Well done. I did like the octave idea it had a cool texture and I think it did work. Congratulations: really a fantastic piece!
October 10, 200817 yr Damn, this is great. The thing with the octave tremolos isn't really that great IMO, but overall I really like the entire piece. The score looks rather good considering how complicated this is to play. I didn't find this very tonal or atonal, it's more of a, hm... Systemless kind of deal to me rather than a mix of anything. It sounds a little on the Stockhausen/Boulez side but not really, which is pretty cool. There's this sort of mix of ideas going on and it's pretty consequent altogether, though it never really goes in any clear direction the piece doesn't sound directionless. So, yeah, really cool stuff. Also, this sounds like it could be bundled with the "(a)tonal" piece of you posted as well. They share a common style throughout even if you may not realize it, like the tremolo-like figures and the rhythm usage.
October 10, 200817 yr interesting... there aren't too many themes per se, but you get the feeling. i'm pretty neutral on that alternating motif towards the end, though... I just feel it went on for too long
October 10, 200817 yr Normally, I wouldn't really like pieces written in this kind of modern style, but parts of this sent shivers down my spine. Nice score, by the way.
October 11, 200817 yr Alexander, Great piece! I can really hear the Stockhausen in there, but I'd say it's actually a little more accessible than that, which is by no means a bad thing. In some moments, I almost heard some jazz. Unfortunately, I'm going to have to agree with other people about the octaves. After a while, I was used to them. But I found their introduction a bit jarring and out of place. I like the idea of you introducing them as your "tonality," and what you achieve by the end of it. But perhaps you could start off the theme with your sevenths or ninths then resolving to the octaves, rather than jumping strait into them. Just something like that to make the transition a little more subtle. Apart from that, I think this is fantastic and I'm really glad to see this kind of writing on the forum! Keep it up, Michael.
October 11, 200817 yr Author Hello! Thank you all for taking the time and leaving your feedback. It is interesting the fact that there is a relevant agreement regarding the octaves and their not being used successfully. I will examine ways to improve that section. I definitely want to keep the octaves, but Michael's suggestions have already given me some ideas to make them less striking and out of place (Thanks, Michael!). I will upload the revised score as soon as I have it ready! Thanks again! Alexander
January 9, 200917 yr Author Hello Magna Carta! Thank you for your comments and your interest in my music. I was quite confused when I wrote this piece. I started composing it sort of trying to mimic Stockhauzen's style in his Klavierst Klavierstuck.pdf Klavierstuck.mid
January 11, 200917 yr Author Hello Magna Carta! My composition teacher didn't like the chord at the end and so did my piano teacher whom I showed the piece (they found it was kind of out of place and new-agey...) and so I changed it. To tell you the truth, I like both endings. The one with the chord (which I personally don't find out of place) gives you the feeling of katharsis while the other gives you the sense that there isn't an ending... Thanks for posting this piece. Thank you for listening! :) Alexandros
