Etüdisch Tanz

This etude I composed about a year ago, I composed (without planning or anything) so fast, that it's practically an impromptu :D.The left hand must be ever so lightly brought forward compared to the right, and the ending played, like there's no doubt that it REALLY is the ending(really maestoso). It is important to play 'staccatissimo' for it to sound right.

Etüdisch Tanz

Hi treCorde,

Nice piece. I see it would require quite a bit of relaxation in both the left and right hands in order to maintain the constant, steady rhythm that is the piece.

The piece overall has a very strong boogie-woogie feel and overall, is nice. There are however a few things I noticed that you may wish to take another look at.

1. The chromatic build up starting around bar 17 and then the perfect cadence at bar 24. This build up in it self is good however, relative to this piece I feel it doesn't work. It's too romantic, very chopin, hardly boogie-woogie blues.

2. Second half of bar 41 and the same new idea up to bar 47. I think the idea of the held note is good however, I would move it from the left hand to the right and have the left hand continue the on the beat pulse that's carried the entire piece thus far. When this idea develops into the arpeggiated chord in bar 45, I would have some sort of imitation in the left hand with the same strong pulse.

3. The left hand idea of up and down in the same bar grows stale even though you do have breaks. Perhaps, every now and then have something different whilst keeping the same melodic shape and overall plan. For example, in a two bar phrase have the left hand play a descending scale or arpeggio.. just an Idea.

I liked the ending (and not because it was the ending lol) I think it is really fitting for the piece.

Overall: nice etude, fresh concept, focuses on good wrist technique and nicely presented score.

Bravo :)

Maybe I'm a dunce, or maybe I've listened to too much boogie-woogie, but I only felt a slight boogie-woogie feel in this. The lack of typical boogi-woogie progressions, bass line (granted, now that you mention it, I can see how this bassline is derived from a boogie-woogie bassline), and the extreme constantness of the feel made it seem like something different. I can see how it's similar to boogie-woogie, but the harmony has a lot in common with romantic-era stuff, and it's sort of a like a little fusion of styles as far as I can tell.

As for the notation, how you have it now is a little hard to read, and a little cluttered with rests, when the player isn't really playing rests. The most common notation would be something like this:

where each staff is a hand. It shouldn't be hard to get it to look like that in whatever program you're using, and if you use Sibelius, I can tell you how to do it.

Enjoyable piece!

to what 'last life' said: Do you know how I can change the outlook, in a way that it doesn't take hours to do? I know, SHIFT+CTRL+(arrow key) to change it up or down a staff, but getting all the material from the upper staff to the lower staff (or vice versa), is there an easier way than copying and pasting every note or chord seperately?

P.S. Thanks for the good review. Remember to give my piece a rating!

This is great, a really happy piece. Would love to hear it played live.

:happy:

Ok, so what I would do, from what you have in the last posted score, would be select the entire upper staff through the whole piece, go to edit>filter>notes and chords, so now it should be just the notes selected, copy, select the first rest on the lower staff, paste, and then press command+shift+up arrow (for mac, it might be different on PC) to move it to the upper staff. Then I would select the entire upper staff again, delete all the old upper staff stuff (it shouldn't delete the notes which are actually a part of the lower staff which just appear on the upper staff), and hide all the whole rest on the upper staff by deleting them. Let me know if this isn't clear.

The piece is interistng for for the consistency that he used a gesture piano:

It's could be a one piece for the suite, or an one section of more long piece

You will use this in the A B A form the B section will be in other rithms and harmony

I actually liked it! (That is quite something.) It was nice and didn't have atonal harmonies. I would, since it is an etude, specify fingering. That was my only problem

Very funny! I liked it ... but this is a typical piece where the pianist bangs the piano to play it .... still caught my attention.

Greetings!

Very very funny. but not a bad one. Hmmm. I wouldn't call it impromptu. The "etude" fits good to me. I can't tell you much. Cool music.

This is definitely an etude... ''a study in endurance'' would be a satisfactory title :happy: . Though I would probably suggest some more harmonic movement, chromaticism and the like... the piece stays firmly in Eb Major, I believe some movement to other, remote regions would give the performer the opportunity to navigate the whole keyboard, rather than the same 7 keys.

Hugo

Cute, but inconsequential. Don't be afraid of trying something more interesting!

Also, as someone mentioned before, definitely fix your notation.