Fame - "I yearn for it..."

This is the first part of a piano trio that has still got another year or so in the making...because I'm a procrastinator. Yes. I admit it. That's the first part to breaking the cycle...right?I actually really hate from about 15 onwards because I feel as if it's not where I wanted to go. There is so much more I could have done with this piece, and I think I let my quickening folio deadline and finale write this for me. Don't judge! It's happened to you too right? So I will be getting this performed probably second half of the year, but I will need to really immerse myself in serious string music study! As a pianist, that's the easy part...but to give the strings important roles in the music is the hard part :\ Anyways, as much as I hate about 80% of the piece, I think as a first movement, it's really quite pleasant and enjoyable =)

Fame - "I yearn for it..."

Ah, I think this is much better executed than the other pieces I've heard from you so far :)

This could really work as a soundtrack to a sort of dark scene in a movie, about how the evils of fame can catch up with you :P

I like the way that the piece sounds very dark, and just mildly atonal, but it doesn't feel pointless or uninspired at any point, or grating on the ears. And I think you captured the evil, yearning, and even slightly mad quality very well. It's funny to me you were so down on this piece in the description.

Thanks for sharing ;)

I think I can understand why you seem more happy about the first 15 measures than with the rest. The strong point of this motive is, I think the evocative rhythm. Its like a limping sarabande in 4/4. From 15 onward there is a continuous rhythm of eights. And so it looses momentum, the Ostinato looses its evocative thingy. I think. (?)

The opening statement could get something metal-like evilness, but the melody is more gentile. Nice, love it.

Furter a enjoyable listen. Currently broadening my pallete. Youre music is quite accessible. Thanks

you are too self-critical ;) and it might not be helping you.. I think it starts well yes and you need to explore the unusual rather than the usual if you get what I am saying. Listen and listen and listen and then when it comes to composing you will hear the places you can take the piece even before you write anything - this is the way that helps me. the pieces I am least happy with are ones that start well and then become pedestrian as though I am filling time - maybe you mean that here - there is a since of filling with broad strokes and a loss of the opening interesting detail and character

.. keep listening and composing and hey write shorter works too - miniatures that you can perfect along side the ones that go on over a minute or so.

:)

I really like this piece. I think it is really interesting. You have stopped too early I feel, though. Have you ever perhaps heard of a composer named Marc Eychenne? He has a piece called Cantilene and Danse for alto sax, violin, and piano. I think it may help you. It is similarly styled to this and I think you may be inspired to take the piece further in intensity. This piece as you have it has so much room to build into a really intense section. This could be a great work if you venture to allow it to develop. I don't know if you will hear the same similarities between the pieces as I do, but here is a youtube version of the Eychenne piece:

I also have a great recording of it by James Umble and the Cleveland Duo if you would like to pm me and I can email it to you.

Okay, you have some notational problems with the score and as was alluded to in prior posts rush to quickly into "developing" the material without really developing it. Yes some nice harmonic changes and textures but after first 15-20 measures it sounds more like a sketch with some interesting sections or phrases to be developed. For example the quartal harmony over the ostinato while the instruments plays seems like a wonderful idea to expound upon. The octaves could be a great climax builder IF you were not so tentative - what I find is unison strings work better than octaves sometimes too. What also tells me it is still a sketch is you didn't research well what double stops are available - as they progress they get more and more uncomfortable because the top note is in a much higher position than the lower note - add on string crossing and I must say though possible I wonder how well the intonation will be on the upper note - depends on the player. ADD - I meant the the cello octaves as tyou get the top note in the ledger lines.So you have a good idea but lack of thinking through (which means understanding better how double stops sound).

Anyway, the ostinato would also benefit from rhythmic displacement - why always starting on beat one? What would happen if you treated it canonically? What harmonies/texture would you get? Maybe you'd derive a new secondary theme? How could you tie in the octaves?

Notationally the piano part has some odd directions - if you want legato for several measures and don't want an extremely long slur write "sempre legato" . Dying away you mark with a reverse hairpin and then write niente (or attach a small o but this is not as well known as niente). "With no attack" I think was another odd indication. I guess so but I recall Debussy and Ravel use sans coulour (sp?) which in English could be pale tone and have a pp

Okay - as for string parts - the cello octaves in the first few bars may get a bit shrill. In general the string writing is NOT that interesting. The opening idea of the cello above the violin and eventually crossing below it to its usual role is great but dulled as the cello just acts like a basso continuo (albeit a one going through a rough puberty with the change from upper register to lower). Even the violin part seems under-explored as most of the material seems to me expository. Similar note values persist throughout violin and cello parts while the piano does most of the developmental (well to a partial degree) .

All of these comments come from just studying the score. In sum: excellent ostinato, good melodic and textural ideas in varying stages but you don't have a fully developed piece. Why not find some fellow musicians to read it for you and possibly push you to prepare it for ANOTHER performance after this one. Also, when doing this work closely with the string player and pianists who are seasoned chamber musicians. A more experienced composer should be brought along once or twice to answer any questions.

'Ello!

Cool ideas you got going here. I like the dissonances, and the harmonies are very, very interesting indeed!

The double stops in the violin near the end are fine. I've played all those double stops and then some. However, the 'cello double stops from bars 8-9 I believe it is, are very hard. I might suggest putting them as just one note. I did notice you said these could be omitted. I think the violin ones you should keep, and the 'cello ones you shouldn't

I also like how you have the 'cello higher than the violin at the beginning. Very interesting, and it would sound cool live!

Is this going to be part of a group of pieces? It sounds like it could be.

Keep composing!

Heckel