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Just finished my first trio.

As most of you know, I am quite sensitive and therefor I have strong feelings easily. About a year ago, I met a young woman, who is now a good friend of mine, and vice versa. Over time, I got stronger feelings for her then she for me, or so I believe. She is not into more then frendship, so I prefer to stay in the 'friend zone', as it is called. I enjoy doing things together friends do, like shopping, talking, going out for a walk... Things like that. I enjoy her company.

But... I had to do something with my feelings,so I desided to write her this trio. She knows nothing about it, by the way, but anyway I did. As I mentioned, it is a trio. For flute, F-horn and cello.

As most of you know, my music tends to be slow. So is this piece: q=72, in 3/4, F minor (I believe it is in minor). It completely voices my feelings, that is, the sad feelings of the unanswered love. It does not voice the joy I feel when we are together, that will be another piece later, I suppose... This is about missing, not about joining.

Well... There are two questions I have on beforehand:

1. In measure 29/30, I let the cellist play double stops. I happen to know that m.29 will not be a real problem. But in m.30 the D4/F4 will change into B3/D4 and I do not know if that is playable.

2. In m.38 I have a strange sound. The horn is clearly playing below the cello. Is that the problem, or will it sound better in real life? If not, please try to find a solution with me. I want it to be low, there.

One more thing... It is instrumental, but some phrases, like where the flute comes in on m.45, until m.51, are actual phrases voiced on text (English). Yes, I know m.50 and 51 are an inversed chord and it sounds strange, not to say horrible. That was intentional.

Mind the last two measures. I did that on purpose.

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let me answer your questions first before I got into the piece itself. 

Cellos can play intervals of a third but they are not as easy as sixths. The double stops you have are fine, but it would be better if they were F3 and D4. 

The horn is rather low throughout and its fine to cross voices with the cello, just know its not a flattering sound that low for the horn. 

As for the piece itself, I didnt get a sense of sadness. You say its in F minor but there doesnt seem to be much F minor in the piece itself. There are plenty of moments that if further exploited would really make this piece great, but it has a tendency to have what I call endless melody (where there seems to be something new ever measure of the piece) I wish there was more development of a few ideas, I think the emotion you are trying to convey would ring out more if you did that. I would also take a look at the dynamics, they seem just a tab unbalanced (moments where you have one voice at forte and the others a piano). 

Other than that the piece has promise just needs some finesse. 

Thanks, that is why I post it (albeit in the wrong thread by accident). Are there any particulair things you think can be developped further?

I will take a look at the horn and the dynamics.

Hello Erwin,

I finally got a chance to listen to your piece "Unanswered Love".

You know I have limited ability to comment on technical aspects, so I won't go there at all.

Listening to the piece, it suggests to me a scene of a person alone going for a walk with heavy, slow steps, while re-living in his mind his experience of a person whom he loved, and the events that took place, in a sort of "ritual mourning" intended to teach himself to live with this new reality.  That is, the piece strikes me as an aftermath ritual of filing special memories away in the person's mind, so as never to forget them, but at a time when the sadness is no longer overwhelming or disabling.  The person is trying to organize his memories and thoughts, so as to be functional again.  I think that's why, like Tyler, I too do not hear actual sadness, rather a heavy spirit filled with recent memories.

On the other hand, it seems possible that I am wrong, and that the way you express sadness through music is different than what I, as a listener, recognize as sadness.  In fact, I think that is quite possible to be the case.  Do you think that is what happened here?  That your musical language of sadness differs from mine, and hence I don't get it?

Best wishes, Erwin.


Well, you know how I am regarding to voicing my feelings, but I guess the way you discribed it is very nice. It could be a reflexion, for thoughts are a reflexion, of course. I think you discribed better then I did, per haps.

Thanks so much for the feedback! I appreciate it a lot.


water bear said:

Hello Erwin,

I finally got a chance to listen to your piece "Unanswered Love".

You know I have limited ability to comment on technical aspects, so I won't go there at all.

Listening to the piece, it suggests to me a scene of a person alone going for a walk with heavy, slow steps, while re-living in his mind his experience of a person whom he loved, and the events that took place, in a sort of "ritual mourning" intended to teach himself to live with this new reality.  That is, the piece strikes me as an aftermath ritual of filing special memories away in the person's mind, so as never to forget them, but at a time when the sadness is no longer overwhelming or disabling.  The person is trying to organize his memories and thoughts, so as to be functional again.  I think that's why, like Tyler, I too do not hear actual sadness, rather a heavy spirit filled with recent memories.

On the other hand, it seems possible that I am wrong, and that the way you express sadness through music is different than what I, as a listener, recognize as sadness.  In fact, I think that is quite possible to be the case.  Do you think that is what happened here?  That your musical language of sadness differs from mine, and hence I don't get it?

Best wishes, Erwin.

I always like low register melodies so the cello work here appeals to me, and I like the minimalist combination of the three instruments.  As Tyler mentioned, there is the "endless melody" thing which I don't mind, but I think you could exploit it more to your advantage as Tyler has said. This is a short piece, so if it were at the start of a suite or a larger work you could develop this further I think.  Like the others say, I don't get a feeling of sadness, more a feeling of thoughtful reflection with a bit of melancholy, which is pretty close really.  Good work!

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