Music Composers Unite!
Now I have completed new work "Appraesentation".
I am using the new software sound source was obtained, wrote the music for cello and piano.
I think I was able to use special playing the cello, and became rich sound.
While developing the theme of "F-Fis-D-Es-G-Cis-C", I was put ideas freely.
How do you think of this music?
I felt that you were really in control of the music and thought about each note and each sequence of notes. Therefore, for me, this seems like a very logical and yet emotionally compelling piece. You have explotied some of the extended possibilities of the cello but the effects are used in service of the music and not the other way around.
YOu demonstrate very considerable skill IMHO. This should most certainly be performed.
Mr. Fredrick zinos,
It's so naive of you to say so.
I was worried about this music might have been a little too arbitrary.
Thank you very much!
This is excellent. Superb. Fantastic. Incredible opening. You had me from the beginning.
The tonal universe set up by the cello is what makes the piece.
The piano is simply, for the most part, a secondary voice, which is perhaps as it should be here.
I will listen to this many times.
The only reservation I have is about the trill that starts at about 0:49.
I think either:
1. the trill should be much, much, much quieter.
2. as an ornamental device, this motive should be more complicated (and quieter) than a straight two note trill.
Why do I say this?
It detracts from what the cello is doing at that point, which is what is most significant.
I have to strain to hear the cello at that point, and I don't want to have to do that.
I am not saying that the piano passages are unimportant, not at all. In fact, the early piano solo portions in the beginning are crucial, and should remain unchanged.
It's just that in this particular case, more subtlety may be required. Maybe quiet triplets. Or a slightly different rhythm, played quadruple pianissimo.
There are some tremendous harmonic effects and glissandi, starting at about 2:00.
Noted musicologists often say that Bartok and a few who succeeded him (Penderecki and Xenakis, for instance) have exhausted all the possibilities for modernists on the string instruments, especially the cello and the violin.
You prove them wrong.
Now, I might go out on the limb here, and suggest the possibility that as the piece progresses, something a bit more innovative has to happen on the piano. One might have an additional piano, tuned one quarter tone off, as Ives did in certain pieces; and this piano might just play a few notes, towards the end. This is just a thought, something to consider, since the cello bears the entire weight of the advanced harmonics. If more balance, aesthetically, is required, between the piano and the cello, the piano has to do something (or could do something) more shocking and challenging just at the end, to up the ante, so to speak.
Mr. Ondib Olmnilnholm,
Your comment to me was very interesting.
I think some of your suggestions are appropriate.
I could not use special sounds of the piano, because they did not exist in my sound library.
I am referring to the opinion of you, will also write a song now.
Thanks a lot!