Cello Sonata- Scherzo

Hey guys, This is the scherzo from my cello sonata no. 1. My major inspiration for it was Hindemith, as well as Schoenberg, Reich and Deane, each of which have a section dedicated to them. It was finished in one day flat,,, the product of a decent musical stream of consciousness if you like... I'd also love some feedback if you play cello,,, I left out the bowings simply because as a non-string player I have absolutely no knowledge of what works and what doesn't! Apologies about the MIDI sounds...theyre the best I can afford on a students income... :D Thanks in advance for your comments! Attached is the PDF and MIDI Sequence. Enjoy! :)

Cello Sonata.pdf

Cello Sonata.mid

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  • This piece is very good, lively and cheerful its original. I looked through the pdf that you attached and went through the cello part. I am a cello player myself and i can say that the line for the cello is playable with a few odd fingering here and there, over all the piece was very interesting and a delight to listen to!
  • I really liked the piece, I can hear your influences very clear. The piece kept your attention through out without really boring any one.

    I do have a few critics:

    Some of the spelling of notes seemed questionable. Some times I feel that they could have been spelled in a way that they sound as far as intervals (example: spelling major seconds as major seconds and not diminished thirds and ect.).

    Cluster or block chords, like in measure 82, 105, and 124, I feel that they can be notated as ambiguous blocks to indicate just any notes with in that range instead of large tall chords, you get the same effect with out the piano player thinking they need to play those exact pitches. Just a way to have less headaches when the piece is performed.

    Last thing,
    I dont understand why you wrote out the numbers for the rows in measure 106-122. I don't see the point in putting that in the score, it does no one good except for you and other people who might be analyzing the piece. And the numbers and row names are clashing with the notes that are to be played thus making the section unnecessarily messy and hard to read. In fact, the numbers might be confused as fingerings at first glance, and your performers might try practicing it like that thus wasting very valuable rehearsal time. So save the theoretical analysis for your thesis :).

    Other then that, this was a great piece of music. Very inventive and unique. You took influences from other composers and made them your own and I appaud you for that.
    Great Job.
  • This is very interesting, It really is lively, which is nice. The piano part seems to do most of the heavy lifting so to speak; it's really piano heavy. While the piano part is not crazy hard, it's almost always there in the background churning away at the chords. I think with real players, you will see that the continuous piano part will make people listening to it tired, especially on the repeats. You could really lighten the piano part by creating "holes" in the texture that the cello can fill, much like the minimalists do.

    The twelve tone section was quirky but strangely appealing. Maybe it ought to be developed more and made into it's own movement?
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