Waltz In A minor - Recording

This is a recording of me playing my Waltz In A minor . I have completed the work, the only thing I need to do is to put it on paper.

Regards,

Waltz In A minor For Piano, created by Saulsmusic and presented through ACIDplanet.com

Is there any reason for there being 26 bars (I think) of vamp before the melody comes in? And the accompaniment pattern isn't at all varied! Maybe take a look at Chopin's Waltz in D flat, opus 64 here - I know it's quite subtle at the start, but even in the "pah pah" chords on beats 2 & 3, there's often some kind of internal movement. Then look at the left hand part from bar 18! There's so much going on there. It's fully fledged counterpoint really.

I don't really understand the ending - especially that last bass note - you can't just suddenly extend the register like that on the last note just for the sake of it. Have you ever heard anything by Mendelssohn for the piano where he just sticks a bottom note in the end because it's there?

My listening skills aren't great, but as far as I can tell you really don't wander very far away from the home key - a piece of that length really ought to have at least one serious modulation where you have some new thematic material that is actually in a different key, like in the Chopin. (I recognise that there are passages where you move to a different key for a few bars or so).

I like the rising chromatic motive of the melody line though - perhaps you could develop this idea further at some point, or incorporate it somehow into the beginning (before the tune comes in)?

Is there any reason for there being 26 bars (I think) of vamp before the melody comes in? And the accompaniment pattern isn't at all varied! Maybe take a look at Chopin's Waltz in D flat, opus 64 here - I know it's quite subtle at the start, but even in the "pah pah" chords on beats 2 & 3, there's often some kind of internal movement. Then look at the left hand part from bar 18! There's so much going on there. It's fully fledged counterpoint really.

I don't really understand the ending - especially that last bass note - you can't just suddenly extend the register like that on the last note just for the sake of it. Have you ever heard anything by Mendelssohn for the piano where he just sticks a bottom note in the end because it's there?

My listening skills aren't great, but as far as I can tell you really don't wander very far away from the home key - a piece of that length really ought to have at least one serious modulation where you have some new thematic material that is actually in a different key, like in the Chopin. (I recognise that there are passages where you move to a different key for a few bars or so).

I like the rising chromatic motive of the melody line though - perhaps you could develop this idea further at some point, or incorporate it somehow into the beginning (before the tune comes in)?

Thanks for listening, I will think about your comments and post something in reply a little later.

Best wishes

A relative of mine passed by my room while I was listening this and said: "Music is nice!". I agree that it has a certain likablilty, tenderness, and charm about it.

The opening didn't bother me. The melody entry ended up being a little surprising (in a good way) because my ears were automatically tracing the upper parts of the bass line as a melody.

It's a nice composition.

A relative of mine passed by my room while I was listening this and said: "Music is nice!". I agree that it has a certain likablilty, tenderness, and charm about it.

The opening didn't bother me. The melody entry ended up being a little surprising (in a good way) because my ears were automatically tracing the upper parts of the bass line as a melody.

It's a nice composition.

Thank you so much.

Yes, the opening sets the mood for the waltz. Its the introduction. The dancers enter the hall look at its beauty and then begin to dance.

Glad you liked it,

Regards,