Waltz In A Major

Waltz in A Major Free Sheet Music by Robert C. Fox for Piano/Keyboard | Noteflight

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Two weeks ago in five hours, but the main A theme was already done, an arrangement of a song by my brother Tyler.  All of the piano part is mine; he wrote the main melody, and the little "hook."  I wrote the F# minor B theme and D Major C theme, and the coda.  A Rock & Roll waltz!

Don't know how difficult this is, not being a pianist myself, but probably easier than Liszt!

A very sprightly waltz that I quite like (and I also think A major/F# minor are pleasant keys to work with, esp. on the piano). I enjoyed the syncopation and a lot of the forward momentum seems to come from the whirring quaver accompaniment or melody. The majority of the waltz seems to hover around the same energy level which slightly put me off (perhaps that's also a consequence of the Noteflight soundfont lol but I'll disregard that), esp. given the work's length and repeats. I would perhaps appreciate more contrast between the different sections i.e. varying dynamics, maybe a slower middle section, or the piece moves into a more distant key; but that's entirely up to the composer and if you have a vision, then it's all yours.

I think you broadly did a great job composing for piano as a non-pianist! I don't have many gripes with the technicality or difficulty of the work, perhaps apart from the fact that the constant quaver motion might get a little tiring without a more settled middle section, although that's probably more so for the stamina of the pianist. Some of the five-note chords are certainly comfortable (e.g. 2nd bar, beat 3, right hand; I would take A and B with my thumb, D and E with my index, and the top A with my pinky) but others are a little less so (for the left hand in that same position in the bar, I could either play each note with one finger, which is a little uncomfortable, or try using my pinky and third finger to play two notes each, which are usually the pianist's weaker fingers). Another consideration is when those five-note chords are transposed, the one-finger-plays-two-notes fingering occasionally doesn't work when the two notes are black and white (e.g. bar 65). But, once again, these are only suggestions and a more accomplished pianist could make this work just fine.

Thank you for sharing!

33 minutes ago, 林家興 said:

A very sprightly waltz that I quite like (and I also think A major/F# minor are pleasant keys to work with, esp. on the piano). I enjoyed the syncopation and a lot of the forward momentum seems to come from the whirring quaver accompaniment or melody. The majority of the waltz seems to hover around the same energy level which slightly put me off (perhaps that's also a consequence of the Noteflight soundfont lol but I'll disregard that), esp. given the work's length and repeats. I would perhaps appreciate more contrast between the different sections i.e. varying dynamics, maybe a slower middle section, or the piece moves into a more distant key; but that's entirely up to the composer and if you have a vision, then it's all yours.

I think you broadly did a great job composing for piano as a non-pianist! I don't have many gripes with the technicality or difficulty of the work, perhaps apart from the fact that the constant quaver motion might get a little tiring without a more settled middle section, although that's probably more so for the stamina of the pianist. Some of the five-note chords are certainly comfortable (e.g. 2nd bar, beat 3, right hand; I would take A and B with my thumb, D and E with my index, and the top A with my pinky) but others are a little less so (for the left hand in that same position in the bar, I could either play each note with one finger, which is a little uncomfortable, or try using my pinky and third finger to play two notes each, which are usually the pianist's weaker fingers). Another consideration is when those five-note chords are transposed, the one-finger-plays-two-notes fingering occasionally doesn't work when the two notes are black and white (e.g. bar 65). But, once again, these are only suggestions and a more accomplished pianist could make this work just fine.

Thank you for sharing!

 

Thank you!  

As to the above comment and the extremely difficult or unplayable chords, if I had to undergo the horrible ordeal of having to edit a piece like this for public performance or publication, I could leave out a note or two, add an arpeggio mark, or some such thing, and such an edit would make little difference in the sound of the music! Noteflight renditions do have a certain sameness of course, but what a tool to have! 

Could transpose to C Major to avoid one-finger playings between white and black keys, but Noteflight does a bad job of this and I would have to do it note by note; Noteflight has its own ideas as to "enharmonic equivalents!"  Anyway, A Major is my favorite key.

Hi @Churchcantor!

This one doesn't sound like a Waltz for me without the waltz rhythm haha. The chords are completely playable with my big hands haha. Some chords with more than an octave like in b.16 can be difficult for piano players with smaller hands though. 

For me persoally this waltz is a bit too long overall, maybe I will cut those returns of the A sections to just a few phrases instead of quoting the whole passage. Thx for sharing!

Henry

Henry, you may play this piece with the repeats or not, but I do think it is more temporarily balanced WITH the repeats.