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Diabolique for Piano


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I present to you an old piece that I started many many years ago that was written into the sequencer.  I copied the piece onto paper and extended it in my usual way, by writing some variations.  Let me know whether that was the best way to finish the piece or not.  There's just the theme and three variations.  For me, the piece was a fun way to play around with cross relations and polytonality.  I hope I used the cross relations to create surprise and harmonic interest.  Let me know what you think!

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Perhaps my ears or the time of day but I couldn't distinguish something lifted out of the sequencer and developed further on paper. Presumably you moved it back into notation or daw. If you played it in on a keyboard you're a far more accomplished pianist than !. (Although it may be possible to input it at a more comfortable rate then up the tempo as needed).

It came across as a capricious piece, bravura, brilliant - and a wrist-acher with all those parallel 6ths. I have no comment on it musically as it's what you want. But I noticed the occasional interjections of accented chords (examples bars 6 and 12) which seemed reminiscent of how you terminated each variation in your recent 11 Variations. Certainly comes with surprises although cross-relationships? I'm not up on poly-anything in music so I can't comment there. The only cross-relationship I know of is one between a music professor acquaintance and one of his students (who happens to lodge with us)!

Diabolique is indeed an appropriate title! Are you intending to add more variations?

Edited by Quinn
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8 hours ago, Quinn said:

The only cross-relationship I know of is one between a music professor acquaintance and one of his students (who happens to lodge with us)!

Does that happen to be an ethical or unethical cross-relationship?  🤨

8 hours ago, Quinn said:

Diabolique is indeed an appropriate title! Are you intending to add more variations?

Thanks!  I don't know what other variations it is possible to write just for solo piano, but maybe if I were to write for piano and orchestra ... ???

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2 hours ago, PeterthePapercomPoser said:

Does that happen to be an ethical or unethical cross-relationship?

"Cross" as in miffed. They agree on one point - she doesn't like the curriculum and he doesn't like teaching it. 😄

Have you pondered a more sedate variation? (Which would probably mean two. The swing variation is already more relaxed so a slower one would have to be added on the end - which in turn would mean a more demanding finale.) 'With orchestra' is a good idea but I hear it more as a piano concertante with the orchestra being an accompaniment. Sort of Rachmaninov's Variations on Paganini. 

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