October 22, 200916 yr Very nice mak. Again, as i said last piece you posted, you are getting incredibly better each and every piece. I'm not a pianist so I can't really be specific on the pianist qualities of the piece, but this piece is incredible. I love it!
October 22, 200916 yr Nice, the way you mislead the ear putting so much accent on the last note of a measure. I wonder if there is even a measure where the accent falls on the first beat ;) I saw some chord that looked quartal, right? I wonder are these chord also playable on a pipa?
October 22, 200916 yr Author ya , thank handsome priest that is called pipa chord , i use the pipa chord and mode to construction the chord progression in the music darkangel
October 22, 200916 yr I can visualise how it will sound on the pipa. I presume that all the chords are played as arpeggio? Asssuming that comprehensive research was done on the instrument and that all the notes are technically playable, this piece does sound like the pipa playing technique. I think you have something good / interesting here.
October 22, 200916 yr Author thx you cup of tea ya , that is called pipa chord as i told handsome priest b4 E,A,B,E =pipa chord , because the pipa contains 4 string , that is E A B E , In china , this Chinese instrument practically Always use this chord , and i also use one mood of scale to transport this chord into different degree of chord and then generate the chord progression On the other hand the interest thing is , the pipa IS equal to other west chord A-E-B , so put it on inversion aspects and apply into it , the chord colour will be increasing darkangel
October 22, 200916 yr this is pretty cool! its a sound that i'm not at all used to. how you use dissonance, rythm, etc. from a pianists standpoint, this would be a very advanced piece to play. i wouldn't be able to play it (i've played for seven years and am a intermediate/early advanced level. the chords, rythm, and such are extremely complicated, though i think that most of the more experience/older pianists could manage. again, i'm more used to the western classical/film score style of music, so its an odd piece to my ears (and music theory knowlege), but a very cool effect. :thumbsup:
October 22, 200916 yr Author In chinese music , the melodies are more important western music and Chinese music sometimes used a kind of special skill for counterpoint called 插花 , which is mean Heterphonic texture ( same chord notes but different non chord notes ) , it will be very odd or new thing for you to listen with , There will be a lot of rhythmic variation on the main motive , i do that because it is a Asia artistic style , you can see the Chinese paintings are very abstract In Chinese music , the motive also very blur (not clear ) and abstract .That is mainly reason that the motive must be use rhythmic variation for development , because This is Chinese music dark angel thx u pretty nose
October 22, 200916 yr thx u pretty nose ok, as i said, it is definitly a very cool piece, its just a matter of what i'm used to. very nice job, mac winner
October 23, 200916 yr Hey Kaka, Nice work here. I think it marks an improvement in thematic/motivic unity from some of your previous music. It's rather coherent, which is good. The form is also quite logical, and fairly satisfying. The piano part is very difficult. Have you played through it to check for playability? I actually think this would work nicely for wind band, if you could make a few arrangement sleights of hand... I think the harmony is just the right style for band. Some exciting rhythms in this... just some of them could be notated more clearly. Watch in bars 5-7 and similar places, you have a bunch of un-needed voice 2 rests. Just get rid of them. Stuff like bar 31, right hand, needs to be written out as a demi-semi then another demi-semi tied to a dotted semiquaver. I.e., you need to use ties. Sticking a quaver halfway through that grouping is *very* unclear. This happens a few times. The F to Ab stretch in R.h. of bar 45 is reallllly wide. I can't do it.....can you? In bar 44 onwards, l.h., you repeat the same dynamics a lot, and they use up a lot of space. Write 'simile' after the first bar of those dynamics. In bars 136 and 138 the dynamics are very precise, but you could convey the same idea with a crescendo mark, which might save a little ink, so to speak. Would probably look nicer. The dynamics at the end are just ridiculous, and I'm assuming they were just for Finale playback. You obviously shouldn't write fffff in a piece that otherwise stays between ff and pp. It's just incongruous, and unnecessary. Anyway good work. Some nice ideas, and you should give a thought to arranging it for band, as I said.
October 23, 200916 yr Author These are very practically useful advices , thank you Daniel , may the force be with you kaka
October 23, 200916 yr Piano is the instrument I love, from the age of 15, I learned reviews Dan and I never intend to stop playing this instrument.
October 23, 200916 yr Author Piano is the instrument I love, from the age of 15, I learned reviews Dan and I never intend to stop playing this instrument. cool ^^ add oil
October 26, 200916 yr Dark - I second Daniel's great comments and this piece would work for either piano or, if arranged well, wind band. I think you have a great idea for the foundation of this piece - the tuning opf the pipa and some of its common characteristics of its music. I think you could easily have several pieces based on this idea. Right now you have a fine, energetic introductory piece. Why not write several mood pieces inspired by the pipa? As inspiration listen to Schumann's Davidsbundlertanze? A great work and in my opinion superior to his Carnaval. Anyway here is the first quarter of it at You Tube: YouTube - Gieseking plays Schumann Davidsb
October 26, 200916 yr Author composerorganist i thank you for your comment ^^ , i will try to development this longer and try to arrange it as well , One the other hand , my son is trying to arrange this piece too thank for your kindly comments
