Music Composers Unite!
I'm not sure if this is the right place to post this since the rules say we should not post "half-baked" stuff unless we want to address some specific problem... well, I guess I qualify.
I've somehow managed to advance in the composition of my piano piece. In bar 27 I slow down the tempo and the left hand changes from arpeggios to chords for every beat. In the context of the piece, do you think this works? Besides arpeggios and chords I don't know what else is usually written for the left hand to do. I would be glad to hear comments and suggestions.
PS. Sorry if the score is messy.
This seems to me to be very much compatible with most music which is posted here, which is another way of saying that it does not stand out. No offense intended to you personally, but if a composer offers something which is similar to what has come before, why should I listen to it? I look for new things, or at least new variations on old things. The opinion I offer here is only my own. Best to you -
Thanks Gav for your opinion, although you didn't say a word about what I was specifically asking on the thread )
Thank you Bob! I'm not a piano player, I'm not even a composer... for an introduction of who I am please check the opening lines of this thread http://composersforum.ning.com/forum/topics/how-to-develop-a-compos...
I'm gonna check changing the chords to arpeggios and see what happens... Are there any particular piano pieces with arpeggios I should check? The only one I know is Moonlight sonata...
Tried adding some variation as suggested by Bob, I believe it's interesting what I got.
All fall down in every sense after 1:00 ...it is not in context of first minute or not in it's level.I like 1st minute very much.Do not rush...try to find better solution.
Thanks Adam! Could you please be a little bit more specific as to why it does fall down to you? Is the change in rhythm? The motif doesn't match my first one? What exactly do you think is not working after 1:00?
I meant after 1:00 is not on the level of first 1:00...there's noting to be more specific about..You have to be specific when writing second part, writing it more beautiful as a first one.I don't speak specific about rhythm, melody...it is just my first impression, your job is to impress the listeners:)It is just my opinion...
Oh, I see ) Thanks for the input!
Hi Francisco, I agree w/ Adam , the fist 1:05 min. was working then the mood
kinda went out the window. Possibly inserting a transitional part of some kind would help.
( just my 2 cents as a hobbiest and novice) it's not easy to be the player and the listener
at the same time , especially when it's your composition. I've been stuck for months trying
get musical ideas and phrases to work as a coherent whole. Keep at it and something will "click'.
Most pieces will have some apreggios sooner or later. From the top of my head,Chopin's nocturnes, the major section of his march funebre, the first piece of schumann's kinderszenen (and propably a few more in that collection), "broken" arpeggios are also used in beethoven's piano sonata no 13, third movement (I think?), finale of piano sonata no 1, 3rd movement of sonata no 14, most mozart piano sonatas (and I guess Haydn sonatas too),in debussy's claire de lune and in almost every piano work after the classical period, some form of arpeggios is used.
Francisco Garrido said:
Are there any particular piano pieces with arpeggios I should check? The only one I know is Moonlight sonata...
Hey Francisco, I would say that this would not be the best point in the piece to go to block chords like that. The beginning of the piece has already created motion and a sense of direction, but then once the chords come in all of that momentum that you have just created gets stopped without satisfying where or why you created that motion in the first place. Plenty of pieces have arpeggios and chords in either hand, however, it is more so how they are used than the fact that they are used at all. I would recommend continuing this motion until you have reached the point that it leads to. Even then, however, slowing down this sense of direction with block chords needs to be approached in a clever way so that you aren't killing the energy. A way to go to these chords that would make it sound less distracting and out of character would be to slowly move away from the arpeggios by alternating one with the other. Also, I feel as if the mood of the piece changes also when this left hand rhythm changes. It seems like you are telling a different story all together when the chords come in, I'd try to make it where you have the same intent with the music. Anyway, thats a bit of my advice as a professional composer. Hope this helps.
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