Hold on a minute--a divisi does not necessarily make the strings any "weaker": with divisi you are expected to compensate for any "weaknesses" by either playing out more or making it less according to what the conductor tells you the composer wanted…
by the way: there are some Joachim youtubes I ran across a couple of months ago--one is an absolutely amazing Bach Unaccompanied that is just hauntingly beautiful! (Brahms wrote his violin concerto for Joachim, in case you were wondering where that…
Very nice!
It makes me want to light a candle or some incense and curl up with a cup of tea or glass of wine and meditate.
(and that was BEFORE I read the description!)
well, to answer your question in very inarticulate terms--the piano part sounds more pianistic than the violin part sounds violinistic. not unrealistic, just biased. I like it and think it could be further supported by an extension and switching of…
Shinichi Suzuki began to play/study violin supposedly at the age of 19. Perhaps he never became the best violinist; however, his impact on the world of violin pedagogy has been incredible. (Unfortunately, though, in ways he never intended by those w…
Hi, Very nice to hear your music!
The chords/chordal progressions I really, really liked. It's a very beautiful piece!
Please keep in mind, that you can take any of the following comments or leave them, but here are my impressions:
(I'll start fro…
I'm sorry, but I have to laugh at what I see here to be irony--I learned the sonata form in theory class via Mendelssohn's A Midsummer's Night Dream...couldn't be any more programmatic, highly structured and an example of solid structural framework…
Well, sorry to hear about you getting drenched in an attempt to find out more about Wozzeck. I appreciate your attempt to learn more about that piece. Keep o writing. You have some good insights into what makes music work.
here it is again > http://www.youtube.com/watch?v=6fKGDUxR76o<<br />
If this doesn't play for you, go to youtube and type in wozzeck drowning scene.
Water> Think about the fact that nothing is sold and maybe that means that the soprano, alto, tenor and bass don't necessarily have to sing in the same tempo or key or language and that the keyboard part doesn't really have to be related to the vocal parts. But water has force... the Bernulli principal I think it is. Try to experiment a little with fragmented musical thoughts the have some commonality that is not readily apparent. Each line makes horizontal sense and is singable ( no wild leaps) but the whole is much different than the sum of the parts. For the time being, and just to get started, let the basses sing pretty much in the key of C, the tenors in G the altos in D and the sopranos in A. Let a phrase for the basses by 4 units or time, for the tenors 5 for the altos 6 and for the sopranos 7 (what a unit of time is strictly up to you).
You have some interesting ideas that need to be liberated. The exercise above may assist that, then again it may not.
Keep writing. You wont get anywhere reading what I have to say but you will make progress if you just keep writing.
OK I think I understand what you are getting at in TIDE. Here is an example of different ways of Handeling Water Music > http://www.youtube.com/watch?v=6fKGDUxR76o <<br />
Water is, well... wet. Your piece has some nice ideas but they are made of gothic stone.
But not a bad effort. Now relax a little, nice glass of Merlot, and do it again.