Piano Duo - Dark Places

Here is a piano duo from last January. It was written for myself and a friend to play, and we did indeed perform it on a composition recital. It was paired with John Adams' Hallelujah Junction and so this piece has echoes of that work (at least I think). There are three movements, played without break, entitled "Winter-melody", "Shoreline", and "Alacrity".

MP3:

http://personal.utulsa.edu/~jeremy-ricketson/Darkplaces.mp3

Score:

http://personal.utulsa.edu/~jeremy-ricketson/Darkplaces.pdf

Oh, wow. Yet another absolutely wonderful piece by you, and wonderful score, too.

I really enjoy how both pianos spend a lot of time playing in the same range at the same time, with the same notes, but not in unison.

The use of accents to create rhythmic emphasis within complementary rhythms is effective, too.

The contrasting yet similar themes flow nicely together and the piece is very easy to follow.

One question about using the bass cleff with the "8" under it--is that cleff really a recognized notation or is it just something that Finale made up? I don't use it myself, but I was just wondering.

This is very high quality work. The first movement stood out as my favorite. I imagine performing this was quite challenging. My only thought, though, is that connecting the movements made the entire piece seem rather long, even though the piece (just under 13 minutes) isn't really all that long in the broader scope of things.

Thank you for sharing! Yet again, just when I am about to forget about this forum, it's pieces like yours and a few others that keep me around a little longer!

One question about using the bass cleff with the "8" under it--is that cleff really a recognized notation or is it just something that Finale made up? I don't use it myself, but I was just wondering.

Sonata, I believe the 8 under the bass clef is a substitute for "8vb", and is more of a convenience than having to write that with a line extending to all the notes that it covers. Once the 8vb has taken its course, one simply writes a bass clef without the 8 under it, I guess. I haven't seen it much outside Finale, though, so perhaps it is just for simplification.

Nightscape: This is absolutely wonderful, I must say! The title "Dark Places" is quite fitting, and I love the 'winter melody' very much. "Shoreline" gives me many images in my mind, and they are unique to this music. I apologize for my lack of formal analysis, but I am not yet versed enough to give such analysis. All I can say is that it hits me emotionally, and very easily at that!

I look forward to more of your work. :)

Yes, the first movement is also my favorite. It was the last to be written, and I think I had gained experience writing for the ensemble from composing the other movements. I think that the 1st movement could stand by itself as well.

The 8vb sign you mention I used because placing a long dotted line would make the music look cumbersome since it stays in that register for so long (I think). However, to avoid confusion I might just make a note as well explaining exactly what I meant.

It definitely offered some challenges but really wasn't too bad. There is a tendency to drag the 1st movement as it goes along - it needs to stay very fast to get the reverberating effects I was after. I only wish we had recorded the performance! But I am not too sad about it though. The only recording I have is on out of tune pianos and doesn't give the piece justice.

Thank you for your comments!

I really think that this is a brilliant piece of music! Very well written, it holds the interest for an extended amount of time (although I'll confess that the 1st movement tends to be a tiny bit longer than I would expect, maybe it's the recording, though).

The use of the two pianos is excellent I find, and refreshing (not original exactly, but WHO CARES? (apart from me who I mention it perhaps :P). Still it does remain refreshing and very enjoyable. The rendering is also very well made, indeed.

Your harmonies are indeed very beautiful and the progression makes very much sense in every point of view, I think.

Score indeed is very well written, although I'd strongly advice against changing key signature every 3-4 bars, cause it's much more difficult to grasp it, than having accidentals. It's like you switch "chords" (don't know if you work this way), and you switch key signature as well, to avoid accidentals. Only it happens very much. It would be fine to work with 2-3 key signatures (in the 1st movement, for example), but not 24 (or however many times you change). The chords in 2nd movement, even if it's harmonically correct, do avoid the double sharps. It only complicates things and there's not much reason in such music, which is not really around a tonal center, even if it is in triadic form and strongly maj/min... 3rd movement has some beams which extend to the next bar, and while it looks pretty and gives a very good impression to what the composer wanted, it still remains slightly complicated and unecessary for the performer...

Your piano writing is very good, and there are indeed some difficult parts, with all this rhythmic notion, which will definately create problems with any duet. And the octave writing, can be cumbersome somewhat... Nothing unplayable though!

In all a lovely piece, which I intend to print out and see if I can get it performed with my partner. (not a promise, don't hold your breath, ok?)

Thank you, nikolas. I actually could spend some more time with this score (right now, it is sort of a working score) to make sure it is as well done as possible. In the first movement, I thought of changes more as switching diatonic scales (except in the slower middle section). Sometimes, the switches would require me to use accidentals on every pitch or nearly so if I kept the key sig. constant! So as someone who can easily think of playing in a 'scale' it was easier and less cluttered to generally avoid accidentals in a mostly diatonic piece. However, this issue has been brought up before - I could try and use accidentals in a few places where the key change is only minor and see what it looks like. It is just easier I think to read 12-20 key sig. changes than perhaps hundreds and hundreds of individual accidentals. It is a difficult issue with a piece as this.

The writing in the 1st piece is not wholly original, but I would like to think I did the best I could do. I tried to think outside of the box in terms of using accents and patterns that were simple by themselves (in each piano), but become complex when heard together. There is nothing you can do that is wholly original with the piano (I say this with some confidence, now that the fluxus movement has passed) so writing good music is more important, I think. I always think that the best composers in history and in the present strive for good music first, originality second. I am very glad that you found the music refreshing!

Oh... my... soul! Brilliant! I love it so... my heart trembles! My voice shrieks! My... my... my... I WANT TO PERFORM THIS PIECE! Give me permission and I'll be thine friend forever! Oh, woe is he that hateth this! It's... BEAUTIFUL!!! I kiss thee on both cheeks.

Pragtig! Pragtig! Jy vul my hart met die mooi dinge! Ek is in pyn... genade! My bors in smart... my siel in vreug... jy is geniaal! Hoeveel moet ek dit beskryf! BRAVO!!!

Pieter Smal :D

This is awesome! This is a really great work. And as many have said before, the first movement is apparently the one that sticks out the most. And I also love the first movement the most! It's not very grand/showy, but that doesn't make it not exciting! In fact it was really exciting!

This inspires me to write for two pianos even more (I planned to, but have never started on one, because my last attempt was a major failure, lol, so hopefully I can come out with one after this).

Thanks for sharing this! =D

Thank you! Yes, you should definitely feel free to perform it if you should desire. Although, I did make a few changes for practicality's sake when we actually did play this - I think in the piano 2 part there are a few awkward stretches that I changed (I don't remember off of the top of my head though). So I'm just warning you! It can be challenging and requires some stamina.

And steventanoto, I would recommend this as a great ensemble to write for. There are so many possibilities that open up when you use two pianos - I am really enjoying exploring this type of writing. Right now, I am writing another piece for 2 pianos and 2 vibraphones. Good luck!

Wow! What a fantastic piece! I really don't have a whole lot to say to be honest, I really love all that you do here. I adore the minimalistic elements, the accent placement, the dialogue between the two pianos. Very nice work!

...I really don't have anything left to say.

Good job!

Wow what a great piece. I love how you have the two pianos playing in the same range at the same time because they'd probably have a slightly different sound from each other, so it would create a cool effect. Especially in the first movement. Oh and the end was gorgeous with all that syncopation. But overall its a very consistently beautiful piece. Great job.

I have to agree with everyone that this piece is quite wonderful. Leaves little else to be desired musically, as it is quite brilliant as others have noted. My only comments are on the score... The time signature might be better written in a different tempo seems as if it could have been written in double time at half the tempo as to fit more notes per measure, because really you were playing it in half time from how it was written with the half note mostly getting the beat. Might want to fool around with a different tempo notation so it can read easier. Whether that means writing it in a half time like 2/2 or keeping it in basic 4/4 (I know you changed time signatures, but for the sake of simplicity, it was mostly duple) and putting twice as many notes in a measure but halving the tempo and making the eight note a 16th note would be my preference for a better looking score. Another thing to do to make the score easier to read is to avoid the frequent key changes, its almost as if you do it every chord change. It's not necessary these days to do that, even if the part is really in that key, just score it in one key (if its E, do that or you can always leave out a key signature with something that chromatic) and write in the accidentals, it will make it much easier for most players, and the key changes won't get in the way of the music. I prefer accidentals as opposed to key signatures in general as a player personally, because really, key signatures are basically archaic and there only to make the reading easier, if the constant changes make it difficult to read, it defeats their purpose. If you find yourself changing the key signature more than 3 times a movement, you probably shouldn't do it at all! just let the key speak for itself without the key signature. imo.

Great work!

Thanks for the comments!

I decided to try reducing the key sigs. and it really is fine. I changed it so that it only changes whenever the music has obviously gone into 'flats' from 'sharps' and vice versa. This should make it easier to read.

Also, I will look at the duple time thing. I agree that is is played in that manner - I just know there would be some issues with 7/8, 3/4 (because they are not always even numbers of measures when they change meter)

Yeah, I'm in the process of writing it, but ahem, it's rather crude. lol, listening to yours makes me feel like, mine is so crappy.

Oh well, I'll slowly do it.

Brilliant. I'd love to try playing this too, but I'd have enough trouble finding a partner; forget about getting two pianos together. :(

To play this work... you need stamina just to practise!!! It's long and... well... terribly long... it wont suit to everyone's taste - Beware! BUT... to to musically inclined ear it is good.

This piece is incredible! The way the two pianos interact with each other is fantastically done :thumbsup:

This is, hands down, the piece I have enjoyed the most on this forum. You just made my day about 5 times better, thanks! Now I am going to learn from you and attempt a piano duo.

EDIT: As great as I find the 1st movement, I find the 2nd movement to be especially brilliant.

i dont have anything too constructive to add to what has already been written, other than 'I love this piece'. Its gorgeous, interesting and takes the listener on a journey.

good work!

Thank you all, for this positive feedback. It's nice to know that my efforts are well recieved!

And to all of you who would venture to write for two pianos - please do so! It is one of the most exciting chamber ensembles to write for.

Imagine the possibilities of writing for solo piano.... doubled!

At the moment, I am exploring the use of this ensemble with additional instruments. I am currently writing a piece for two pianos and two vibraphones. A great piece that uses two pianos plus other instruments is the Bartok sonata for two pianos and percussion, which I would recommend checking out if you haven't heard it. I believe there are several recordings on Youtube.

Wow. How it accents. Indeed. It is beautiful. The change in pitch.

Just wanted to bring this thread back on top. Took me a while to find it (again) and I have to repeat that this is wonderful music! :) Well done mate!

Very nice piece..I enjoyed listening to it...

Best wishes,

Hakan

www.hakanyurdakul.com

I have it on my cellphone.

Listen to it almost 24/7!

WANTS someone to play this piece with me. It's miraculous!

Wicked piece!!! I really loved the chord progressions in it, and how it had that oriental feel to it^_^ at some points the deeper piano line sounded like a string section... I'm convinced I heard a cello!!

Thanks for sharing, it's great to hear extraordinary pieces like this.

ps. it reminded me subtley of some of the music from "The Sims"