Unnamed

This work combines modalism with serialism.

I open the piece up in Dorian for the 1st Piano. The 2nd Piano accentuates with the serial music - the row is devised with Dorian Mode in mind (first three notes are the first triad inverted AFD). The second section retains this row BUT the texture is inverted to where the serialism is the main material and the modality serves in the bass as a sort of melodic ground. Let me know what you think!

Unnamed

Reminds me a little of the love for three oranges.

I like the idea, but think that you would get it accross better if the chords in the right hand of the first piano were more open, for me there needs to be better note spacing, I think if you really thought about the texture and colour of the chords you were using you'd have a far more exciting piece of music. At the moment it feels slightly childish in the first piano, and well crafted in the second. So yeah my comment would be that the first piano lets down the second piano.

Overall, I think its a fantastic concept, and with a little working into could become a fantastic piece.

Reminds me a little of the love for three oranges.I like the idea, but think that you would get it accross better if the chords in the right hand of the first piano were more open, for me there needs to be better note spacing, I think if you really thought about the texture and colour of the chords you were using you'd have a far more exciting piece of music. At the moment it feels slightly childish in the first piano, and well crafted in the second. So yeah my comment would be that the first piano lets down the second piano. Overall, I think its a fantastic concept, and with a little working into could become a fantastic piece.

:hmmm: I might go back and reconsider it. I did try the following before settling on the more closely spaced chords: octaves, fifths, and fourths. All three that I originally tried didn't sound to good to me. The modalism blurred more with the serialism - which I didn't want at all. I wanted the two to sound as if they 'belonged' together. When I finally tried what I have here (which is the second draft of the fourth draft of this.) I really liked the melding of the two different sonorities (serialism and modalism). I'll reconsider though.

Excellent, Dorian is my favorite mode. I really enjoyed this, especially 30 to 43, which is like jazz on crack. I like the transition out of the A section as well. It's like slowly walking from one room of a house into another during a party. I would like the middle jazzy section to be longer, but the homorhtyhmic section as a transition back to the A material works. It's like you just walked a circle in the party house.

I see you've introduced some phrasing into your piano writing. It's a good start. One thing I don't buy is the use of ties for l.v. I think in this piece you should be more meticulous about your note durations since you don't have pedal markings.

Fun Dorian melody and rhythms throughout. Nice work!

Sofie makes some good points. However, I do like the contrasting piano ideas...

Oh man, I LOVE the breakdown starting at 28! ;D The ending is really sweet, too.

Awesome piece, Jaws! Shoot, I'm going to listen to it again.

I'ma have to go ahead and cautiously third the opinion that piano 1 seemed a little too much on the simple side in terms of the sonority/voicing of your chords (and piano 2 also was a little repetitive at times in repeating the same voicings for several measures at a time). Sooo many root position triads/diads, accented by the fact that the accompanimental lines were so simple and repetitive. I don't know about spacing the notes too far out, though, because you also want the two pianos to be distinct from one another, yet cooperating toward the same end. And I too wanted more of the syncopation/hocketing action of the middle section.

Also an observation: when the two pianos play simultaneous accompanimental lines toward the end, it sounds really loud. But that's the fault of the rendering, doubled notes are automatically summarily louder.

Thanks for sharing.

-P

Wow, thanks for the compliments guys. I'm glad to see so many like this so far. I'll give it another revision to try to make the parts less triadic. Thanks again, glad you all liked it!

Lol, I tried to follow along with the score, but I couldn't :lol:

Did you get inspiration from Tokke to do this? This is like "old" you meets "new" you in a single piece, at the same time. It's a really great effect, Jason!

Lol, I tried to follow along with the score, but I couldn't :lol:

Did you get inspiration from Tokke to do this? This is like "old" you meets "new" you in a single piece, at the same time. It's a really great effect, Jason!

Well, I'm sure Tokke had something to do with it - especially where those comments are concerned. I'm glad you like the result!

I like it when old meets new. I think this is a fairly interesting piece.

I did however not really think of the tonal piano as in D dorian. The moving to an E minor chord sounded more like a clumsy way of transposing than as a real II. Maybe because the B, as the characteristic feature of Dorian is more clear as the major third of the IV, than as the 5th of the II.

Nonetheless, the idea of a clearly triadic context, spiced you with a serial piano really works for me. Nice job.

The piece's dissonance kind of rolls like a wave, which is cool.

I prefer the less driving sections -- you seem to have more control beyond the beat there. Your right hand melodies remind me of Ornette while your combined-hand chords remind me of Monk. Whatever that means.

I didn't really feel the piece as it continued, it was going somewhere, but did not finish, as Morgri said. I think it was because you lost some of the lyricism of the first section in favor of texture.

Also, the very first section might need more attention -- i'm not sure the repeated notes should be the same throughout -- some kind of articulation or dynamic or something change should be in there.

Well, the score calls for a great deal more articulation then the rendering gave it. That's why I hate renderings, you don't get a good approximation at all. Thanks for listening guys - glad you enjoy it (or parts of it.)