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This is a neo-classical solo piano piece that roughly follows sonata form.  Please listen and give me some feedback on this piece.  All comments and criticisms are welcome.  I'm afraid that I've stolen the third (closing) theme from somewhere, it sounds familiar but I can't place it.  The score is still kind of rough but any comments on that are welcome too.  Thanks for your time!

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Part of the reason I listened to this was to see if I could identify the theme you fear you might have stolen, as I have a rather large memorized repertoire of classical music, but I could not. The only thing that reminded me of someone else was a bit earlier, when there were some brief Ravelian/Debussyian colorations, and I thought for a minute of Ravel's sonatina, but it was so brief I couldn't say for certain.

Anyway, this seems like music that keeps suggesting little side-trips here and there, but doesn't seem to really say much in the end. Too much fiddling and diddling, so to speak, not enough true themes that you can wrap your head around. Of course, as always, this is merely my take on it; others have had much more positive responses, and that is par for the course for us all. I by no means disliked it; the only music I can't listen to is when it's just plain ugly, irritating, frightening, etc. As so much "modern" music was 50 or so years ago.

Thank you Michael for helping with this. CF is a great resource for advice because of you and others, so I'm glad I haven't stolen anything here! 

As to your criticism, as they say in traffic court, I plead guilty with an explanation (excuse). I originally wrote out my themes here in a straightforward manner, but I added to them for two reasons. First, I like that diddling sound on a piano and I think (in some cases) it improves my melodic line from the original version. Second I wanted to appeal to the type of pianist who would want a technical challenge. Maybe not the best reasoning but there it is. 

I also feel that your criticism extends past the themes to the transitions which I am more concerned about with this piece myself. This has also been mentioned indirectly by other commenters here. I used to think, transitions, what's so hard about that? Not so, and I'll work on that.

 

Thanks again for commenting.

michael diemer said:

Part of the reason I listened to this was to see if I could identify the theme you fear you might have stolen, as I have a rather large memorized repertoire of classical music, but I could not. The only thing that reminded me of someone else was a bit earlier, when there were some brief Ravelian/Debussyian colorations, and I thought for a minute of Ravel's sonatina, but it was so brief I couldn't say for certain.

Anyway, this seems like music that keeps suggesting little side-trips here and there, but doesn't seem to really say much in the end. Too much fiddling and diddling, so to speak, not enough true themes that you can wrap your head around. Of course, as always, this is merely my take on it; others have had much more positive responses, and that is par for the course for us all. I by no means disliked it; the only music I can't listen to is when it's just plain ugly, irritating, frightening, etc. As so much "modern" music was 50 or so years ago.

Hi

There's nothing to dislike about this work but I suppose I would echo the previous comment about a lack of true themes other than of course the one you refer to as the third theme (which also appears in rudimentary form quite early on) . This one stands out more than the others which I had some trouble identifying as such.

I feel that when the right hand is playing the dominant theme the left hand doesn't always seem to be supporting it enough harmonically - you could make more of this but then it wouldn't sound particularly neo-classical - I'm hearing it in a more classical vein.

Nevertheless, a pleasant listen. 

Thanks, Colin

Hi Colin, thank you for commenting.  I understand what you are saying about the different treatments of themes in my work and I agree with your point.  Originally all three themes were written in basic form and I see that it would have been more in keeping with sonata form to express them that way.  I will learn that lesson for future work.

The left hand is minimal at times, you're right.  The right hand is embellished and when I added more harmony it just seemed too much to my ear, but I see your point.

Thanks for listening!

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