OK. I invite anyone interested to listen to this. It's a very short piece for small orchestra. And I say listen, that's just what I mean. And leave some meaningful comment. Oh, you can say that the piece sucks. But that doesn't help anyone. You can say that it's a nice piece. But that's not what I'm looking for.

See, I don't believe that music is what's on the printed page, or in this case, a sound file. I don't think that music is what you hear, either. I tend to think that music is more what goes on inside as you listen to it.

So, if this piece does nothing for you, that's fine. Thanks for taking the time. But while you're at it, leave a note about why. You might think it needs a modulation. I think it's too short for that. You might think it needs some tempo change. It is constant for a specific reason. But there are plenty of other negative things to say. When you say things you didn't like, it tells me that you really did listen. So be specific. It helps me and it helps you. You'll notice I'm not posting a score. I don't think you need it. When you hear a new classical piece or a pop song that you like, do you rush out and get a score for it to study? I hope not, that's just weird. You make several judgments about it as you listen. 

Maybe someone of you likes this. Great. Why? What about it? What part? I have a favorite 2 measures, myself.

Which brings me to the sound set. After I get a few comments, I'll share how I made it. If your first thought is that this would sound better if run through different software, or even if played by a live group, you are totally missing the point. Your not listening to the music. Even if I posted this using GM, you should still be able to listen regardless. Have I written good notes? Can't tell, listen again.

You don't have to, of course, but I think it's for your own benefit. 

But I get it. Personally, I don't care for piano music. I tend to not listen to it here. I have posted a different version of this elsewhere. And I'm really kind of posting this version for Stephen Lines.

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  • Bob,

    I liked the melodies and the percussion near the end.  It seems to be foretelling of a sad event, so maybe the title should be "Foreboding".  One thing I didn't like, the single note piano "bell"  in the middle of the piece.  Seems like some orchestration should have continued under the bell tone to keep it flowing.   I think beginning and ending with the repeated piano note would be more effective.  Nice work.


  • Stanley and Lawrence,

    Thanks for listening and the thoughtful comments. I realize that there isn't much to say about such a short piece. This is built entirely around the repeating piano note. It is the heart beat. I was not after foreboding, but rather melancholy. Not sadness so much as thoughtfulness. I suppose that one string entrance might be too loud. Yet, it is one last reaching out before the end of the piece. 

    Thanks again.

  • Thanks Michael. I wish I could say that there was some deep creative method to my key choice. I wish that the A was the result of deep theological, and introspective contemplation of the very heart of the universe. I wish that my innermost soul and very being was involved to the depths of the cosmos. But the truth is that the software opens with no key, which means that I write either in C or Am. And since I lean towards minor.....Of course I can change the key. I know that there are "studies" about different keys invoking different emotions. I'm not sure I buy into that. I prefer to let my notes do the work. Once in a while I get into range problems. Oh well.

    Piano tuner,eh. Sorry man. 

    I hope to use this piece as a postscript to a video project.


    A thought on the Sibelius horn patch. I've played in a great many groups and heard many different sounds come out of different instruments. Different professionals produce different tone qualities. The same instrument will sound different when played by different players. Distance from the player, indoors or out, and room size, all make a difference. Oh well. 

  • Michael,

    I think the deepest theological and introspective truth of the universe is, Bob's too lazy to change the key signature.
    michael diemer said:

    Hi Bob, been meaning to catch up with you since my return. What I find after hearing this is that it keeps echoing in my head. Part of that no doubt is the ostinato figure. but it's also the overall mood and structure. I think the harmonic sequences over that piano note are very effective. And that piano note...I just checked my pitch pipe. I thought it was an A, and it was (unless in its continuing echoing in my head, it morphed into a B, or a G). And it was the right choice, somehow. Maybe because I was a piano tuner once, and of course we all know about A 440. If you're going to repeat a note through an entire piece, A 440 is a good one to choose. Was it intentional, or did it just happen that way? Any way it was the right choice. It has an insistence about it. There must be a reason orchestras tune to it!

    OK. I invite anyone interested to listen to this. It's a very short piece for small orchestra. And I say listen, that's just what I mean. And leave s…
  • (Yawn). Am Not. Do I have to get up today......?

  • Hi All

    It's an interesting topic, which key to choose. It almost sounds (no pun intended) that there is a proper key for a particular composition - I did quite a bit research on this but eventually gave up. We learn, broadly speaking, that a  minor key is sad and a major key is happy. This can easily become a self-fulfilling prophecy.

    D minor is meant to be the "saddest" key but I would choose C#minor for piano for no other reason than Beethoven used it. For guitar it would be Aminor or Eminor because I don't like the fingering for Dminor.

    For a happy sad piece I choose G minor because I like the sound of Mozart's strings (which of course is down to the audio engineer) and I've just about finished a piece for piano and orchestra which is in G minor and which also confirms my scientifically held prejudice that G minor is the best happy sad key.

    On a more serious note, I forced myself to get out of the habit of writing everything in C/Aminor and then moving it to a different key. I think this has helped my appreciation of the various keys, particularly Bb on piano.

    It all makes perfect sense?


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