May 4, 20232 yr This is my "Caprice for Solo Violin No. 3". It is the first string piece I have composed in which I utilize left-hand pizzicato. Here are the links to my two previous Caprices for solo violin: https://www.youngcomposers.com/t44427/caprice-for-solo-violin-no-1/ https://www.youngcomposers.com/t44439/caprice-for-solo-violin-no-2/
May 5, 20232 yr Thank you for this very interesting piece! I even didn't know that such difficult effects are possible for solo violin. In the music aspect your composition is interesting with its rhythm. The rhythm and the combinations of measures are very expressive and bright.
May 5, 20232 yr Author Thank you Alexx for your review and positive feedback about my piece. I am glad you found the piece so interesting
May 7, 20232 yr Hi Luder. I think my favourite bars are 21-24. I think that something else could be made just from the development of these two bars. The caprice overall seems more ambitious than the previous two. It is twice as long and I would say it does require more skill to be played. It contrasts a lot with the previous caprice due to the extensive use of stacatto I would say, not to mention the left hand pizzicato! However, I think I liked the second one a bit more. For some reason, M15-20 sound a lot louder than the rest of the bars despite not having any dynamics specificied. Is there a reason behind? Is there a reason behind those tempo markings in the last three bars? What about the rit. and accel. not being played (correct me if I'm wrong, but I didn't perceive them)? Looking forward to check what you bring in the next caprice. Kind regards, Daniel–Ømicrón.
May 8, 20232 yr Author Thanks Daniel for your review, your valuable feedback as well as your comparisons between my Caprices. Regarding M15-20 sounding louder, I guess it is a software-related problem, or an mp3 export issue. In any case I had no intention to make them louder. Regarding the tempo markings of the last three bars, the 2nd one is to ensure that the tempo does not remain the decelerated one following the ritardando (I guess I could have put "a tempo"). The one on the last bar returns the tempo to the original tempo the piece started with. As regards the accelerando and ritardando, I think the accelerando is clearly audible; the ritardando a bit less so. But these two are things that could be more pronounced in an actual performance (according to the discretion and interpretation of the performer) as opposed to a software-produced one.
May 8, 20232 yr 3 hours ago, luderart said: I think the accelerando is clearly audible; the ritardando a bit less so. But these two are things that could be more pronounced in an actual performance (according to the discretion and interpretation of the performer) as opposed to a software-produced one. Definitely, the machine cannot (yet?) reach the musicality of a good performer approach to rits. and accels. Perhaps I expected them to be more brusque and this is why they went unnoticed to me. 3 hours ago, luderart said: (I guess I could have put "a tempo") Yes, perhaps this may be more appropriate for the human performer, but whatever suits you is fine. Kind regards!!
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