Hello colleagues,

This is one of the first pieces I wrote that was of consequential length (13 minutes). I am now in a phase where I am visiting some of my older compositions to see if in the years since I have written them, I have learned anything which would help improve them. I did make various changes here and there, and I am finding as I have with some other pieces I am revising that the one area which seems to be most in need of revising is the ending. My earlier endings now seem to me to be fizzles in some cases, not enough energy as I now feel a proper ending should have.

This piece was originally written when I was heavy into progressive rock, and you will certainly hear the influence if you know the genre, but I tried to avoid imitating any particular rock composer, though you may hear a bit of Rick Wakeman (from Yes) in it. I had hoped to record this live on my new electronic piano, but so far I haven't been able to put the practice time into it to do it correctly, so the attached is a computer-generated file. 

One other note, if you do listen to the whole thing, you'll notice the playbar gets a little behind the music as it goes, something that I couldn't quite get perfect. Comments as always invited>

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          • there are also those who say there is no such thing as atonality,only suspended tonality or a different sort of tonality. I myself find that in the majority of cases, works which have no sort of conventional tonal base to return to if you like eventually become unlistenable to but there are the odd exceptions. I myself have never written anything which most people would define as atonal, even if tonality may be suspended from time or time or become too complex to identify an actual key signature. 

             

            • What the Atonalists can't escape is that outside of a few dry academicians and die-hard masochistic new music listeners nobody likes the music. I know in some circles it might be a blasphemy to say this, but I don't write for myself-only. I want people to like it, so I put things in it that I think they will like.

              • indeed, but most music written by "serious" composers is not written to please the general public and anything which could do will probably not get performed in the concert hall. I write mainly the sort of music which I myself would like to hear but is distinctly unfashionable --but naturally it's nice if a few others respond to it as well.

                 

                • I have had my best success after joining my local composer group (Baltimore Composers Forum). Now I'm getting performed regularly. The audience reaction (all of it positive) means more to me than anything any professional says. And I do write new things that go beyond tradition and extend the literature, even though they are purely tonal. Whomever said tonality was played out didn't know what they were talking about. It just needs an update to appeal to modern audiences, who don't want to hear Beethoven and Sibelius imitators.

                  • in the USA, you probably have more chance than most European countries with your sort of music as there seems more of a backlash against modernism. As you say, there is a huge amount still to be explored within tonality -- the late romantic period in particular in my view was criminally short as mainstream.

                     

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