Permutated Ideas

I started this as an experiment in utilizing permutations and combinations. The entire work is based off the following pitch set (note set, or w/e you want to call it): A, Bb, D, C#. I use this throughout the work verbatim, in various permutations/combinations, and modulations. Let me know what you think. I'm not totally sold on the ending. I think I MIGHT make this a full sonata - I have other ideas for more uses for the pitch set!NOTE: It's starts off really soft but DOES get loud as the piece progresses. SO don't go turning your headphones on to full blast. Also, as I am still tweaking with this - the score isn't perfect yet! I am going to use this score to learn some essential functions in Finale. Will upload the score regularly.

Permutated Ideas

Hi jaw!

This is a very cool theme here. I do agree that this would be perfect for a sonata.

One of the changes was a bit abrupt, but it's not bad enough to go into changing half the piece for it.

The theme is very cool, and has just the right amount of change! I can't think of much else to say... just really great work here :)

Thanks for posting!

Heckel

You already know how much I like this, and my thoughts on it so far

So I'm just going to say Great Piece!

Thankyou for sharing

Thanks alot, Sofie and Graham! I"m glad you two liked it! <3

Hi

it has everything I am looking for in solo piano music . It has disturbing mood, big mass, unfinished melody lines, dark sound and it is not sad.......it is crazy . It is something like spining around black hole.

cheers

This is quite difficult to play - very difficult in places. Bar 86 requires a very large left hand to play both the chords and the ascending scale, as the scale has to be played with only two fingers due to the stretch involved. In fact I'm not sure it's actually possible to play this bar at the tempo required. The right hand is also asked to make some very fast jumps. I think you've prioritised use of the motivic material over playability in places.

I felt the piece lacked a decisive climax. Bar 156 should be a massive central point in the music which everything has been leading up to; instead you simply revert to the chord section already heard twice, which robs the piece of a satisfactory climax. In addition, some fast passages are just a little bit static; 45-59 does not feel as if it is moving forwards enough, although when the same material is repeated with variation later on this feeling was lessened. I think greater variation would make the episodes based on the first idea more interesting.

The pauses which form the second idea are very ambiguous as to their actual length. In the recording they are nearly the length of minims in the tempo but I would play them considerably shorter just reading the music. So if the recording is correct you either need to mark the tempo slower or write them out to be held for a particular length.

Siwi makes excellent, excellent points. This is very tricky to perform. I would personally remove the fermatas and either go for a rit. or give specific note durations. Using a fermata doesn't make sense to me when a performer will most likely play all of them about the same duration; you might as well specify that duration yourself. In the first half of the piece I really wanted some occasional melodic motion in the left hand, although the lack of motion gets rectified later on. I feel the static in places that siwi mentions as well, although I think the build to the first set of fermatas is very nice. After that it starts to feel a bit repetitious, although the build at 112 is welcome. It needs something more, though, as siwi suggests.

I hope you work more on this piece. There's a lot of great material there and I love the energy! Working out the kinks in the score may be a beast, but it will be well worth your time.

Thanks for your well thought out comments on my experimental piece! Much appreciated. I'll go back over it this weekend and see if I can make it easier. I don't tend to think of climaxes much - nor do I listen to pieces that have much of a climax in the 'strict sense' that I think your referring to. Let's see what I can do though - I was pretty much done with this and had enjoyed the results... but now I second guess.

is it for a normal piano? there are a lot of chords out of the range of the instrument..