Completed 2nd movement of the piano concerto

Hallo,

today I post the the finished 2nd movement of my piano concerto in d-minor scored for classical orchestra (piano, flute, oboe, clarinet, bassoon, trumpet, horn, 1st and 2nd violins, violas, cellos and contrabasses). Its over 8 minutes, presented as mp3, I recommend to listen with headphones to hear all detail.

2nd movement of the piano concerto in d-minor

4shared.com - online file sharing and storage - download Concerto_for_piano_and_orchestra_2nd_movement.mp3

Feel free to comment, I hope you will enjoy it.

P.

at points it sounds not disimilar to one of puccini's operas. also use in The Phantom of The Opera in the form of All i ask of you.

However this poses no problem as the piece develops away from this theme into a beautiful cacoun of lush harmony.:D

at points it sounds not disimilar to one of puccini's operas. also use in The Phantom of The Opera in the form of All i ask of you.

However this poses no problem as the piece develops away from this theme into a beautiful cacoun of lush harmony.:D

Thanks Stephen!

I am glad you liked the developement.

OT: May I ask what the word "cacoun" means? Sorry of my bad english, I also didnt find it in the dictionary.

UPDATE

Here is the link to the orchestral score of the 2nd movement: 4shared.com - document sharing - download piano_concerto_2nd_movement.pdf

P.

Hi,

I had a look and listen to your second movement. The melodic flow of your piece is great, the transition of the theme from the orchestra toward the piano works very well. The orchestration is generally very well balanced.

A few remarks however remain: perhaps it is the computer generated sound but the chord in 27 sounds flat (not as in #), it takes away the tension of the melody.

51-52: Although I understand what you aim to achieve, I would leave out the broken chord of D in the piano and would have the solo end at the major D chord.

72-83: why only the right hand? Why not having it doubled by playing the same notes in the left hand as well? This way it looks (and sounds) pedant (childish). Ok to have the right hand play a few bars by itself but not such a long passage.

88-89: Although I do understand what you want do do, the chord progression as it is now does not work in your composition as laid out by you. However, when playing it through the second time, I left out these two bars which work well.

92-96: This sounds like "I needed a few more bars, but did not have actually anything to write". The long chord of d in 96 gives one the impression of a piece being finished, when it actually all starts again.

120-121: Messy notation in the timpani.

127: I would not place a fermate on D, just let it sound half a bar.

188-198: same remarks as above: let both hands play the music

204-206: no please, no. Do not copy paste music to the dullest, but be inventive. Not such a stupid chord progression, it really is a dull ending.

Kind regards

FDC

Too many modernisticisms

Formally all in place and well-functioning.

I felt some of the dynamics in the early part were a little suspect - geared perhaps to your notation software's output, rather than a real-life situation?

Perhaps more use of connective notes (scale tones or chromaticism) in the figuration would flesh things out - as it stands I think you rely rather too much on triadic elaboration. This is particularly the case with the string writing, where you have much extended seesawing between two tones. As a whole, though, the string choir is well-written and cohesive.

Your score indicates that this is for double woodwind, yet all I see is solo writing. Why not involve them more in the texture - take the harmony from your string choir and write different figures for the ww to fill things out, or use them to selectively double, and thereby colour the sound of the strings. Or take appropriate sections already written for the strings and transfer them to the ww, perhaps giving something of more a background accompanying feel to the strings.

A note of caution. If you had intended the ww parts to be literally doubled, I'd caution against. 10, 12, 14 or however many string players in unison produces a rich amplified subtle chorus effect. Two of one kind of ww in unison generally adds flab and confusion, not volume and punch.

If you are going to double in the wws, it's usually better to double different instruments, or at least have two of the same instrument doubled at the octave.

I question the need for a trumpet part in this - it doesn't get tossed many bones. I get the sense this is driven not by concerns of orchestral colour but a desire to keep the player(s) from falling asleep. I do sympathise - trumpets are awkward to integrate into this kind of orchestral sound.

Certain parts of your thematic material would work well with brass fanfare-style accompaniment. Another option: there's absolutely nothing wrong with sending the trumpets to the bar for the middle movement - as long as they don't get so drunk in the 8 minutes allowed them that they butcher the more powerful work I guess you have in store for them in your finale.

Hope this is helpful,

J

That's because he spelled it wrong. It should be spelled "cocoon", which is the case certain larvae protect themselves in while they transform into butterflies or moths, etc.

Thanks for your explanation, now i get it. :)

Too many modernisticisms

Are they disturbing you? I like them.

Formally all in place and well-functioning.

I felt some of the dynamics in the early part were a little suspect - geared perhaps to your notation software's output, rather than a real-life situation?

Perhaps more use of connective notes (scale tones or chromaticism) in the figuration would flesh things out - as it stands I think you rely rather too much on triadic elaboration. This is particularly the case with the string writing, where you have much extended seesawing between two tones. As a whole, though, the string choir is well-written and cohesive.

Your score indicates that this is for double woodwind, yet all I see is solo writing. Why not involve them more in the texture - take the harmony from your string choir and write different figures for the ww to fill things out, or use them to selectively double, and thereby colour the sound of the strings. Or take appropriate sections already written for the strings and transfer them to the ww, perhaps giving something of more a background accompanying feel to the strings.

A note of caution. If you had intended the ww parts to be literally doubled, I'd caution against. 10, 12, 14 or however many string players in unison produces a rich amplified subtle chorus effect. Two of one kind of ww in unison generally adds flab and confusion, not volume and punch.

If you are going to double in the wws, it's usually better to double different instruments, or at least have two of the same instrument doubled at the octave.

I question the need for a trumpet part in this - it doesn't get tossed many bones. I get the sense this is driven not by concerns of orchestral colour but a desire to keep the player(s) from falling asleep. I do sympathise - trumpets are awkward to integrate into this kind of orchestral sound.

Certain parts of your thematic material would work well with brass fanfare-style accompaniment. Another option: there's absolutely nothing wrong with sending the trumpets to the bar for the middle movement - as long as they don't get so drunk in the 8 minutes allowed them that they butcher the more powerful work I guess you have in store for them in your finale.

Hope this is helpful,

J

Thanks J.,

maybe I will extend the ww and the brass sections later, it was funny to read about drunken trumpetists, ok, they dont have a hard work here, I was already pleased with the ww and the horns since I reached the result I wanted. About dynamics - its just arteficial, live performance would sound of course better and naturally. I try to avoid ww in unison.

P.