Short Suite for Piano

This my contribution to the July competition to use octatonic scales. Uses octatonic scales on D, A, C# and D#. At certain points I use contrasting octatonic scales simultaneously - eg a bitonal use of these scales.

There are a few other ideas I was playing with such as the degree of rhythmic freedom given to the performer (thanks goes to discussion with SSC and Nate). Another goal was to write a rondo variation form though I am unsure if I were successful. It seems more a ternary piece with some elements of the rondo-variation form. In the end I chose to call the piece a Suite

I hope you enjoy it or, at least, find it intriguing. I welcome comments as always.

PS Don't care if I win or not - I learned much doing this - thanks Morgri for setting excellent parameters for a competition.

I realize I should specify the exact scales I used,

MM 1 - 18 D Eflat F F# G#ABC

MM 19 - 28 A A# B C# D# E F# G#

MM 29 - 41 D# E F#G G#A#BC#

MM 42 - 47 A A# B C# D# F G G#

MM 48 - 52= MM 19 scale

MM 53 - cadence derived from two scales - the one from MM 19- 18 and MM 42-47.

MM 57 - 62, and all other measures aside from Recit = MM 1 - 18 scale

Recitatives = Two octatonic scales against each other. First Recit - AB Bflat C C#D#EF# against ABCD Eflat F# G G #

Second Recit ABCC#D#EFG# against ABCDEflatF#GG#

Short Suite for Piano.pdf

bachian - is that avatar a pic of you?

bachian - is that avatar a pic of you?

Yeah, that's me. :P

About this suite. It's hard for me to comment on pieces like this, as I don't really have a knowledge of this sort of music. I am only able to comment on more tonal pieces. I'll leave the commenting to the experts of this style.

Well I appreciate you listening. Man i never thought you looked like that - a NYC hipster look!

I'll spend time commenting on your piece. I listened to it awhile ago buit haven't had a time to comment.

Well I appreciate you listening. Man i never thought you looked like that - a NYC hipster look!

It's just the hat, and I rarely ever wear those, but I do in pictures if my hair looks terrible. :P

I enjoy the flavor you are giving the performer. There is everything in here... from expression, to academic apathy, to almost a jazzy set; however, I think what this piece fails at bringing to the table is form. You have created a "suite", but none of the sections seem to be related. You didn't cross over any thematic material or expand off of it, you just inserted another experimental part of your use of the scale.

In other words, it needs to have a better flow. Try using a motif and carrying it through the piece, even when you change the style up... This to me sounds like a whole bunch of segmented bagatelles that were thrown together. And, I enjoyed your use of the scale and your treatment of the notes... it reminds me of my earlier piano pieces I used to write a lot of.

Thanks for the listen.

I agree with Morivou. I liked each section for what it was, but to me, there was nothing to turn a bunch of sections into a unified single piece of music. Also, because you wrote in pauses in the music, it's like listening to a cd of octo-hits. The first being a slow jazz-ballad type of feel, the second being a sort of a more modern etude. I did find some congruence in the "recitative" section and back into the "A" section, as we can call it. After the Vivo middle section, the restatement of A, and then into the recit, and then the sound of A and the recit. sort of combined, so that fit well. I think if you got rid of the Vivo section entirely, and just developed more of the jazzy chordal section and the recit sort of feel, you'd have a piece there. Or, find some way to make the transition between the opening, and the Vivo, and then back to the opening smoothly. Good job overall though, and Good Luck in the octo-competition..

Thanks guys. Actually all the sections are related. It is a monothematic work. But yes as I said to another YC member the form is imperfect and I am not 100% happy with. As I think more about the form some of the problem comes from a change in my intention. Originally I planned the piece to be an Andante-Vivo-Andante (a perverse take on the old Minuet Trio form). Soon I changed my direction to a rondo form. it explains the lack of unity.

I'll see about revising this ( I finished it early this evening) OR I'll do another piece in light of your comments (and others). Maybe I'll make the August 4th deadline.

I like it, thank you!

Sorry there is nothing useful in this comment : )

It is a monothematic work.

In all honesty, but even if it is related... if people can't tell (which now on a third listen I can see what you meant), then it's useless to have them relate except for your own sadistic pleasure, lolz.

But to be fair, I can see how your scale ties everything together, but the problem is that your sections are SO drastic, that a general audience wouldn't be able to understand the complexity that ties them together. Maybe smoother transitions will tie things in. I always say, CLUE the audience in!

I didn't think we could post our pieces for review until the competition was over. :/

Anyways, I really liked this composer, especially the middle section. The rhythms were exciting! You used the diminished scale(s) in ways I've never heard be for, kudos for that!

I'll save a more in depth review when the comp is over, just wanted to say I really enjoyed this!

Vince

if they post it on the site, sure we can review as peers and not judges... lolz. I haven't given my full review or what I want to score it, I've just heard it. My in depth review will be at least a page long... lolz.

thanks for the kind and constructive comments all.

Thatguy - I think it is OK to post in a forum your submission as long as youresubmit an altered version in response to comments on or before the competition date.

Morivou - I am thinking maybe I'll add pieces - the next one derived from the Vivo - but put them under a collection - in the manner of Schumman's Novelleten or Beethoven Bagatelles.

... I have no idea how to comment with anything useful on this...

But.. I listened to it...

I don't usually listen to this type of music but expanding my listening is always good.

I liked it.

a successful and effective form does not have to be achieved through having sections that are clearly related. It is just one method/solution/arguably easier than finding ways of making forms work with more material that is less clearly related.

Just thought I would add this point in light of some comments I have read.

Just looking at the piece its way to confusing for a performer you should to dum down some of the sections so its a little more readable such as the recitative section with all the 5's just make sure you look at that even though the beginning and the ends didn't intrigue me as much the middle section was quite nice

Ah Fegane, appreciate your comment. I found most of the score quite readable.

Yes the Recitative is difficult - but how do you suggest I notate the rhythms then? What other parts of the piece do you find the notation overly complex?

Yes it would be a slight pain in the bum. I wonder if there is a more graphic, approximate way of notating the Recit.

Sometimes you could remove the stem and give a general direction... watch:

http://www.omms.co.nz/rokunshi.png

All good ideas everyone thanks.

thanks dark.