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stewboy

Serious Music for Violin and Piano

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This is a work I've been looking at on and off for a few months now. It began its life as the opening few bars in my head for a week until I wrote them down. I decided that I wanted to try and write a very light-hearted and maybe (hopefully) occasionally humorous piece, while still keeping it interesting and musically varied. It's quite clearly very 'Candide'-inspired, but I tried to take it in my own direction as well. I'm also using this piece for another subject at uni, where I have to write an essay about some aspect of critical practice, and I'm talking about humour in music in general, and what my approach has been towards composing this piece. I'm happy to share the essay once I finish it in a week or two, if anyone would be interested in it!

There are still a few notation issues to work out before I can submit it as part of this year's composition portfolio for my degree, such as the pedal lines, but now that the music is basically complete I wanted to share it with people anyway. I've also got a soundcloud link if people prefer that player - https://soundcloud.com/fotytoo/serious-music-for-violin-and-piano/s-Howou.

 

 

 

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This is the kind of music I like (well, there is more)... I mean, you take a classical influence or mood but make a brilliant and modern piece. The piano part is very nice.

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This works very well!  Interesting how changing meter unexpectedly, or just placing an accent as a surprise really does contribute to a sense of humor.  Good comedy is all about setting expectations and then changing direction with good timing.  The octaves in the piano add a lot, although I can't explain why I find that funny.  Maybe you can?  I'd love to see your essay when everything all done.  I hope you'll post it.  

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@pateceramics

Ask and ye shall receive!

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Cool piece. Interesting mix of classical and modern elements. I find the opening motif quite playful. The only harmonic thing that through me off was a progression that seemed like the root position of a diminished triad in the first few repetitions of the opening motif. A dominant 7th, root or inverted, or first inversion diminished triad would work better. Despite the presence of both major/minor and free tonality, I felt that the diminished 7th triad didn't fit in the more major/minor tonality sections. Otherwise, amazing piece.

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