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HoYin Cheung

Piano Concerto No.1 Movement II [Incomplete]

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Hi everyone, 

After receiving positive comments of my Piano Concerto Mov.1 , I have decided to write the proceeding movements of the concerto, which serves as a challenge to myself.  

I have long for writing a slow, romantic movement for a concerto and so, in contrast to the 1st Movement, the piano solo has more melodic parts here. 

How is the work so far?  Is the string prologue too long?

Btw, I am still trying hard to add woodwinds and brass as I am more familiar with strings, so I may add it later. 

Thank you for your comments:)

Regards,

HoYin

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I made some updates to the draft:) Please feel free to comments.

 

 

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Ok so

Thanks for writing down the notes, and I think that the overall sound is nice. 

The listener can feel that you have experience in harmonies.

But!

I couldn't really find a... how do you call it... קו מנחה

There was nothing that tied the piece together, nothing to expect.

Maybe you have a main melody or a few musical ideas in there,

but there are too well hidden to me.

But maybe that's what you tried to create.

Idk, I hope I wasn't too hard on you,

and normally I wouldn't comment for that but you asked for feedback in the main chat,

so there you go.

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Interesting piece, but I would be hard pressed to call this a "slow, romantic movement". Sounds more like second half of 20th century, when composers discovered that you didn't have to choose between tonal harmony and new things like tone rows, or extended playing techniques, but that you could mix and match. This is actually a very difficult style to write in, and your changes in texture, harmoniousness etc help move the piece forward at a satisfying pace. However, it really lacks somethings that makes it seem purposeful, an overarching principle. Well, it probably doesn't lack it, but I do not register it.

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@Rabbival507 @Willibald

Thank you for the comments! Seems that I always have the tendency to create "directionless" music. Actually, in my previous quartets such as "Frustration", listeners also criticize the lack of direction since my music is in polyphony throughout the piece. For most of the work, I have attempted to compose the theme first. However, most of the time (maybe as a part of my composing style) I tend to introduce new themes not much later than the earlier theme not to make long-winded developments of the theme. I think it is hard to strike a good balance here. Do you have any suggestions?
 

 

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47 minutes ago, HoYin Cheung said:

@Rabbival507 @Willibald

Thank you for the comments! Seems that I always have the tendency to create "directionless" music. Actually, in my previous quartets such as "Frustration", listeners also criticize the lack of direction since my music is in polyphony throughout the piece. For most of the work, I have attempted to compose the theme first. However, most of the time (maybe as a part of my composing style) I tend to introduce new themes not much later than the earlier theme to make long-winded developments of the theme. I think it is hard to strike a good balance here. Do you have any suggestions?
 

 

 

I think that you should give the listener time to get familiar with the first theme,

and after a few measures of development and repetition, when his ear is already familiar with it, you can introduce a new theme.

Even if you don't want to fully develop your first theme (due to the fact you're going to use it later on) you should base it's place in the listener's mind.

 

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