La vida tangencial (tangential life)

A piece for trombone and piano.

Edited November 27, 20205 yr by Luis Hernández

I like the canonic imitation/interplay between the piano and trombone at measures 67 - 71.  At the end I hear the tonic as G and when I look at the beginning I see that you start with an Ab7 #9 #11 tritone substitution that resolves to a very exotic G chord as well so I assume that the key is G.  Also, I like the way you linger on the D in measures 9 - 14 using the whole tone scale (with a few additions apparently) which also functions as a dominant which then resolves to G as well.  I have used a whole tone scale in this manner as well in my (shameless plug) Scherzo and Variations for Piano and Orchestra.  You do the same thing at 42 - 47 with the trombone as well.  I don't know if you intended this but this seems to be written with the piano leading and the trombone taking a sort of backseat - that's how I perceive it at least.  If you don't want to create that impression you could bring the trombone out more with dynamics or give the trombone the primary melodic material that the piano enjoys first.  Or maybe just give the trombone more virtuosic parts?  I like how the trombone ends on the 9th which kind of leaves a feeling of uneasiness.  Great job and thanks for sharing!

Thanks. Yes, this work is mainly harmonic than melodic. That is why the trombone is not so evident. In fact, many times I do not focus on melodies. Yes, there is a general structure with G as the tonic. 
I like the whole tone scale...

Edited November 27, 20205 yr by Luis Hernández

You've created a very pleasing mixture here: it is jazz but also the Spanish influence pops in and out in subtle ways. At times the accompaniment feels as if it's about to head to a more strict Latin style rhythm, but then it changes before it fully commits in that direction. I like that type of fusion because it keeps a piece from being a predictable character piece, and shows your flexibility as a composer. I especially like the piano part starting around measure 61.

I agree with Paper Composer that giving the trombone more meat to chomp on would only improve the music. 

This type of music belongs in a smoky bar (I love music like that). If a trombonist with improvisation skills had this music to play around with, this could be a strong foundation for some really wonderful jazz.

Cheers!

44 minutes ago, Seni-G said:

I agree with Paper Composer that giving the trombone more meat to chomp on would only improve the music. 

11 hours ago, PaperComposer said:

you could bring the trombone out more with dynamics or give the trombone the primary melodic material that the piano enjoys first.  Or maybe just give the trombone more virtuosic parts

Thanks again.

I think I will work on another versión giving the trombone more room, as you salid.

A splendid piece. Although the piano part isn't so easy it's languid; laid-back. The kind of music one might expect in a salon. As others have said it also has jazz about the harmony and interplay of the instruments. Some nice variations in metre. There's a natural tendency to link the whole-tone scale to a particular composer but I made no connection to him with your work. It's unique, thoroughly 'professional' and works as it is. The ending felt natural and dead-on.

If you do alter it I'll look forward to the new version but personally feel it isn't necessary.

An accomplishment. Congrats.

Quinn

38 minutes ago, Quinn said:

If you do alter it I'll look forward to the new version but personally feel it isn't necessary.

Thanks!

Yes, I've been listening to some pieces for trombone and piano from th e20th century (Milhaud, etc...). And sometimes, the treatment they give the soloist is similar, not "too complicated".

My idea, at first, which is what I think I did, was leaving the trombone a sort of linking and simple voice. In fact, all the piano part was written first.

I've studies the whole tone scale in several composers, Debussy, Messiaen, even Stevie Wonder... 

It's absolutely lovely! Such a rich and deliciously lonely atmosphere.

I always enjoy listening to your works - they're often very different from other things that can be heard on this site. Your harmonic language is as always exciting and engaging.

I personally have to disagree with the others - I think the trombone here works quite well. I get the feeling of it being a true duo, such as one might find for two pianos, rather than where the trombone is taking the spotlight (correct me if I'm wrong.) That said, the piano seems a little too prominent at times, like the trombone is an afterthought. 

Well done on a colourful and interesting piece!

aMC

I wish I wrote that! Amazing!

@aMusicComposer @Massimo Santi @RyanMcRainbow

Thanks for your kind words.

I'm happy with this piece because it encompasses many of my ideas of tonal composition, in which harmony is almost most important than any other thing.