Piano Trio Q - Now with revised 1st movement

This is my piano trio.. It's kind of intimidating to put up next to Aerlindan's masterwork, but we shall see how it fares. :thumbsup: (The third movement is in the works)

Movement 1 - bastarized sonata form.

INTRO - MOTIVE THEME - THEME/CADENCIAL MATERIAL /:repeat - DEVELOPMENT OF MOTIVE THEME - TRANSITION - RECAPITULATION - THEME (CODA)

It starts out with a very frustrated intro, soon transitions into motive theme 1 (a motive basking in various thematic ideas) then we have a theme which is ''kind of'' in g ( :huh: ) and serves double purpose as both bridge material and theme -- thereafter there is a repeat. Development: simple f thing which REALLY emphasizes the motive theme and should make it easier to pick it out on recap.

Movement 2 - Intermezzo. Ternary/rhapsodic

It's is a very short intermezzo using simple techniques. It's designed to transition eloquently (ehh..) from the playfullness of the first movement, to the schizophrenic madness that is to be the third movement.

Despite it's short length, I really spent a lot of time just thinking this out - I wanted to really *invent* something tonal, but new, here.. I'll let you be the judge of how successfull that was

Movement 1 - [MIDI] [sCORE]

Movement 2 - [MIDI] [sCORE]

Movement 3 - In progress... sketches

Have fun..

Ok, first things first - it's not a piano trio.

It's a piano quartet.

4 instruments = quartet.

Got it?

Now on to issues other than nomenclature.

I find the harmony too disjointed.

It's refreshing to hear something not-quite tonal (at least not "common practice" tonal), however, there's something missing - a continuity, a sense of cohesiveness. There are fractional moments of "I-IV-V" harmony, and a lot of sense of "still firmly rooted in common practice harmony" despite the dissonance. There are also some sort of clumsy and clich

YES! This is exactly what I hoped for. Thanks for such a detailed response!

Ok, first things first - it's not a piano trio.

It's a piano quartet.

4 instruments = quartet.

Got it?

I think of the 3 wind instruments as the ''main characters'' (now that we're talking neologisms :D) in this piece, so that justifies the name.. I think I might subconciously be doing it just to piss people off, though. *grin*

I find the harmony too disjointed.

It's refreshing to hear something not-quite tonal (at least not "common practice" tonal), however, there's something missing - a continuity, a sense of cohesiveness. There are fractional moments of "I-IV-V" harmony, and a lot of sense of "still firmly rooted in common practice harmony" despite the dissonance. There are also some sort of clumsy and clich

Just so you know, I've been rewriting since I wrote that post :huh: Need to sleep now... more tomorrow..

Alright! I think this is it.

I sat for 5 hours straight yesterday with this, and managed to finish it today. Let me give an overview of the changes made:

- Introduction: there are only 2 variations on the introduction theme, and it moves from low to middle to high register

(with the help of a flute)

- Main sonata is introduced more effectively. And Harmony is voiced differently.

- The bassoon is introduced at 0:50, not 0:34 - to render it's entrance more effective.

- Transitions are overall handled smoothly.

- Certain sections have been given more colour, and the recapitulation pokes fun of the overt dramaticism of the exposition

bridge (00:56 and 04:40)

- I ended the movement in C minor, because the subsequent movement will be in a minor key

- More, uh, daring use of instruments in general

PS: The second movement intermezzo is almost done. Just need to do some cleaning up.

All comments welcome :)

PS 2: Still not sure about those runs, as you mentioned.. I might get someone to try them out.

Well, as I'm sure you've heard a lot, you're style is great! I like the harmonic language you use. I didn't hear the previous piece, but I can say that I really liked when you were more "daring" and explored the ranges of the instruments. I like the slower parts, with the held note (I always enjoyed when that note came :huh:). I thought the overall structure was generally fine. I really liked the ending :D (though would've added an extra measure or two to die down, myself ;)).

Great work! Can't wait for the rest of this..."trio" :D.

I really like what you bring in at measure 177.

I was dissappointed it was so short.

a nice interplay between the various woodwinds and the piano would have worked well there.

the flute's too brief interjection gives the impression of being incomplete. as if you had started writing in the flute part then forgot to finish it.

I strongly suggest adding around 10-15 measures at 237 through 240, where the clarinet and bassoon have that heavily chromatic part. Where's the flute?????? It would work perfectly as a preparatory section to the coda if the three woodwinds were to extend that slow chromatic passage a bit more.

I love your style:). It is so interesting and pretty unique. I can't wait to hear more:).

There are few problems but QC has covered them all. I agree with him about the flute interjection.

To me you don't use the flute's upper range enough (That may be because i'm a flautist). When I'm playing, esppecially with a group quite a lot of my time is spent above the stave. But it's just my opinion.

Keep up the good work.

Q - Thanks again, i'll listen through it and see what I can do.

M - Thanks! Oh, and this;

To me you don't use the flute's upper range enough (That may be because i'm a flautist). When I'm playing, esppecially with a group quite a lot of my time is spent above the stave. But it's just my opinion.

Is the kind of commentary I adore and crave. Thanks :D

i really enjoyed this piece. the style is so quirky and kind of 'cartoony' and I love the way that the piece strides on so confident through all of the rhythmic quirkiness - and perhaps because of it? I love the way phrases cut off before they are finished and how they dont go the way you expect. I loved the abrupt ending which is just right . . . and I'm rather glad I'm not the pianist at times (yikes! heaps of practice needed I think! Can you play it??) Its strange though because despite the quirky sometimes jaunty feel with the offbeat rhythms and the interesting sideswipes there is a serious thread (perhaps because of the C minor?? and the tonality is a lot minor so I will be really interested to hear how you develop the tonality in the other movements . . . . yeah if you want to call it a trio then you must: a bit like satie with his three pieces in the shape of a pear (there werent three pieces at all)

Thanks Steph (can I call you steph? :laugh: ) That means a lot coming from an... well, coming from an adult listener. *grin*

I've finished the second movement! It's is a very short intermezzo using simple techniques. It's designed to transition eloquently (ehh..) from the playfullness of the first movement, to the schizophrenic madness that is to be the third movement.

Despite it's short length, I really spent a lot of time just thinking this out - I wanted to really *invent* something tonal, but new, here.. I'll let you be the judge of how successfull that was! :laugh:

A score :laugh:

Lovely once again. And a more exciting flute part aswell:)

I'm sure you didn't put a chord in the flute part in bar 29, I think that's just the midi conversion talking.