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Greetings,

let me introduce to you a form which I call progression. It is a continuous flow of themes with no or minimal repetition. Here in the setting as a duet for cello and piano.

I am no expert in cello so you may want to comment on its usage. In the end there is a short forza fortissimo for the cello which I doubt is playable but one never knows...

Cheers,

Kjell

https://soundcloud.com/user-892939153/progression-5

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This sounds very playable to me (I am a violonist). It's an interesting blend of romantic style (almost like Brahms, in parts) and more modern elements - there is a real hint of Tango Argentino (like Piazolla) in there, I feel, and perhaps you could strengthen that even more (if you want to) with a little bit more rhythmical "bite" in the 'cello.

Just the section from 1:40 to 2:00 seemed to be a little confused regarding where it really wants to go, so, it almost sounds, as if it is hopping on the spot a bit.

You are generally making good use of the character of the 'cello. It's possible, though, that the piano part is harder than the 'cello part, which perhaps could do with a bit more balancing out.

It's a nice, strong, confident piece with good atmosphere. Hope that you will get it performed some time!

Your reply makes me vary glad. Thank you. I am glad you heard the latin tango vibs since I noticed that myself, unintentionally actually. So then I made a guitar version of it here:

https://soundcloud.com/user-892939153/noche-sevillana-2

I am grateful you listened and for your feedback, very valuable.

Cheers,

Kjell

Bravissimo, Kjell. A piece with so much potential to work with.

I'm especially fond of the finale, where the cello and piano go into a very lively competition. 

Maybe in the opening and body of the piece, you could have the cello play in other registers (you mainly use the mid register) to make contrasts with the piano (which has a very nice part btw).

Another small remark is about the placement and sound position of the cello: It's sometimes a bit buried under the dynamical enthusiasm of the piano (partly due to the lack of pitch difference, partly to the choice of dynamics of both instruments).

Your composition stands wonderfully as it is, but the performance could add a lot more brilliance! A cello is such a beautiful instrument, let it sing to its abilities...

Thanks for sharing this most delightful piece!

Jos

@Jos: there is potential, that we might be getting a bit distracted (or mis-led) by the computer sound. With a real human playing it, the piece would immediately sound differently. If it is a capable cellist, then the mentioned points or ideas (different registers etc.) might become pretty obviously immediately - and could be worked on.

@Kjell: do you have some musicians, who will play this with you / for you, to really give it a good "test" (if this has not happened as yet)?

Hi Kjell, Tillerich,

I fully agree, a good performer could make a huge difference (with a sonorous good instrument) and here we only have a virtual version these sampled recordings sometimes give us too little or exaggerated nuance. (Performing virtually depends so much on the skills, the libraries and technical possibilities of the - in this case - composer. We are basically composers, not recording engineers...)

It wouldn't be too difficult to find a decent cello and piano player to give it a try. That would work miracles and joy for the composer!

Jos

Thank you Jos, always happy to get your comments with mixed encouragement and suggestions for improvement, very valuable to get your response. I am grateful.

Cheers,

Kjell

Jos Wylin said:

Bravissimo, Kjell. A piece with so much potential to work with.

I'm especially fond of the finale, where the cello and piano go into a very lively competition. 

Maybe in the opening and body of the piece, you could have the cello play in other registers (you mainly use the mid register) to make contrasts with the piano (which has a very nice part btw).

Another small remark is about the placement and sound position of the cello: It's sometimes a bit buried under the dynamical enthusiasm of the piano (partly due to the lack of pitch difference, partly to the choice of dynamics of both instruments).

Your composition stands wonderfully as it is, but the performance could add a lot more brilliance! A cello is such a beautiful instrument, let it sing to its abilities...

Thanks for sharing this most delightful piece!

Jos

You've got a point there, Tillerich. A live performance with musicians who appreciate the piece would certainly add a lot of beauty. I would be most impressed if there is a cellist able to play the last measures. That would be an experience for me, certainly. I am able to play the piano part myself so it is not impressive technically.

A dream would come true if it could be performed. Do you know any?

Tillerich said:

@Jos: there is potential, that we might be getting a bit distracted (or mis-led) by the computer sound. With a real human playing it, the piece would immediately sound differently. If it is a capable cellist, then the mentioned points or ideas (different registers etc.) might become pretty obviously immediately - and could be worked on.

@Kjell: do you have some musicians, who will play this with you / for you, to really give it a good "test" (if this has not happened as yet)?

Well, there are plenty of cellists out there... ;-)

If the last part is clearly too hard (without really having an outstanding musical benefit), then it surely could be changed to make it work okay. I am most surprised, if composers (unless they are household names) stubbornly insist on writing something they think is "right" or "proper" (or grand, or serious etc. etc.), but, therefore, sacrifice the chance of people actually playing their piece...

I am, because of my own limitations, rather pragmatically minded: if I do not have an orchestra at hand, then I am simply not going to try to write a piece for orchestra. Simple.

To be honest, I found it a little amusing during the last competition ("Machines") here on the forum (without wanting to sound arrogant or such): my piece ended up in last place, but it possibly is the only one, that will ever be / have been played by real people at some point (it was just for a string quartet with moderate difficulty). Nothing against ambition and imagination, certainly, but practicality beats a lot of other things, does it not?

Kjell: your piece will sound cool - have a look who you can find. Perhaps advertise it on MuseScore or so etc. if there are no musicians in your home town etc. to volunteer.

Very nice Kjell. It does progress, maybe not thematically but in terms of density and volume which helps hold our attention. I would use less reverb, just my preference of course, but it might clarify some of the passages where the cello dips into the lower range. But that's not a criticism, just a choice.  Good work.

Thank you, Ingo. I remember I tried a chamber for the acoustics but I didn't like it so I chose my standard which is called "standard concert hall" in my VST.

Kjell

Ingo Lee said:

Very nice Kjell. It does progress, maybe not thematically but in terms of density and volume which helps hold our attention. I would use less reverb, just my preference of course, but it might clarify some of the passages where the cello dips into the lower range. But that's not a criticism, just a choice.  Good work.

Hi Kjell -  Your reverb is not a problem, I'm only noting my preferences. Whatever setting you choose may have some parameter controls or else you can apply EQ settings to adjust it also. For instance a reverb that is 'booming' in the bass can be rolled off with EQ.  You probably know this already but I thought I would mention it.

Kjell Prytz said:

Thank you, Ingo. I remember I tried a chamber for the acoustics but I didn't like it so I chose my standard which is called "standard concert hall" in my VST.

Kjell

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