The Final Chapter

This is the last movement of a dark orchestral suite I just complete. 

This music is influenced by Erik Satie (but in a much less static way), Frederic Chopin for the wide hands and mostly Ludwig Van Beethoven as if he had access to a 97 keys Bösendorfer Concert Grand 290 Imperial in 1801 when he composed the Piano Sonata No. 14. The chorus orchestration is inspired by Thomas Newman in Wall-E and EVE "Define Dancing" scene.

https://soundcloud.com/user-461764443/the-final-chapter

I like it. Beautiful. Surely the orchestration could be refined.

But some interval in the piano are nearly impossible, or impossible at all.

34 minutes ago, Luis Hernández said:

I like it. Beautiful. Surely the orchestration could be refined.

But some interval in the piano are nearly impossible, or impossible at all.

 

Thank you so much Luis. As for the orchestration, I welcome any specific comments.

Nevertheless, When my daughter was young we used to play 4 hands piano pieces. We also enjoyed listening to Martha Argerich and Nicolas Economou two piano transcription recording of Rachmaninov Symphonic Dance and Tchaikovsky Nutcracker. This particular recording has set my mind on a way to compose for piano such that I composed for wide hands as mine or 3 hands as I like the wideness of 3 hands on the piano. I am sorry if the intervals are out of reach for some of you, which is why I wrote the following statement in the presentation: This music is influenced by ... and Frederic Chopin for the wide hands 

Cheers,

Yes, I read that about Chopin's hands. Probably you don't need those supposedly big hands to play this piece. The issue is that the notation is confused for that purpose. And let's say honest, if we take Chopin as a model, let's do it also for the fine way he notated his works.

18 minutes ago, Luis Hernández said:

Yes, I read that about Chopin's hands. Probably you don't need those supposedly big hands to play this piece. The issue is that the notation is confused for that purpose. And let's say honest, if we take Chopin as a model, let's do it also for the fine way he notated his works.

 

You are so right Luis,

I apologize for the garbage quality of my notation. I am quite lazy as well as for me the recording is more important than the score. 

Cheers,

Wow, again the production is superb. You certainly have a talent for creating a wonderful digital representation of your music. I especially like how you decorate the atmosphere with string techniques.

It feels like film music to me, is that what you were going for? Awesome job!

On 8/15/2022 at 6:51 AM, Syrel said:

I apologize for the garbage quality of the notation since it was done with Logic Pro. After all, I am composing. Not a typist.

No one is faulting you, you wrote this in a sequencer and not notation software. We know your end goal isn't the score, but most are appreciative you offered something to follow along with for those who wish to dive deeper into your music. 

Thanks for sharing, great stuff!  

Sounded awesome. I really like how the first 30-40 seconds have the piano slightly going out of the chords or almost out of key but done very well to give an eerie or very like you said "dark" feel. I especially noticed this in the piano in-between 30-35 seconds in. As the composition goes on the strings and brass come in with a very dramatic or intense feeling especially the brass. The ending was very interesting with just an octave in the lower hand range of the piano giving a really suspenseful finish to the piece. Well Done, I liked it.