Late September - for piano (3')

This is the last piece of the collection for a book of progressive studies.  In this piece, there was no need

to hold back technical demands of the player.  As with the previous pieces posted, there is a blending of styles, somewhat.

Thanks for listening.

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  • Hi, Gregorio,

    It's a very pleasant piece, atmospheric, redolent of the onset of autumn; and beautifully performed. There's much that could be said but not in the way of critique, just pointing to things noticed. Without a score the obvious one is the triplets in the right hand; and the interesting harmonies beneath. The build-up starting around 1'20, the left hand rhythmic change at 2'30 . It flows well. I felt it came to an end a little abruptly without ramping down from that brighter rhythm/wider harmony. 

    It reminded me vaguely, very vaguely of some Frank Bridge I once played.

  • Thank you, Dane.  I appreciate your observations.  You mention about the end - 'without ramping down'.  I too felt a Strong pull to do that... but with the restatement of the (fragment - 2 bars) of the theme on the faster flourishing part - that to somewhat return to the slower pace (at the beginning) - with again a reference to the theme, had me feeling I was overstaying my welcome, (with a kind of slow death ambience to it :) and adding to the fact that so much of the tune is already 'mellow'. .. So, thought Id give it a high bell-like'chime' - and let the rest be implied - if you know what I mean.  But that decision didn't come easy.  And I may change my mind - ( the way that you mentioned) -  if I grow unconvinced in it's current structure.


  • It's a most accomplished piece, no matter what.

  • Excellent piece, It was abstract like an animation in which the drawings are simple sketches and change shape on the fly to the whim of the creator. I kept picturing a bird (animated in the same style as the cover art) flying.

  • 8Rivers - I love your imagery - and glad the piece evoked such a visual.   Thank you for listening and offering such a poetic response.

  • Hi Gregorio,

    Rather than offer commentary on the whole piece, which I rather liked, I thought I would concentrate on one specific aspect of it in the hope that you will find it useful. Overall the piece has an amiable, stumbling-along quality, dipping in and out of a triple meter feel. At times you interrupt this amiable stumbling with short faster runs in the upper register. I noticed that most of the time you do this, the volume of the short accelerated motifs is noticeably higher, which normally I would say is appropriate  if you are leading into a generally louder section. However, in this case, you aren't, the volume drops back down at the end of the short motifs, so they stand out a little bit awkwardly to my ear. I wondered as I listened to it if they would sound better at a lower volume.



  • Thanks for listening, Gav, and offering your thoughts.  I listened again w (good) headphones to see about this idea. 

    Relatively, there are a few rises which then fall back down volume wise, but more spots where the faster Rh leads into a louder section.  Either way - I couldn't sense in an obvious way - something that bothers me, volumewise.

    Though there is one thing Sibelius renders the piano (to the ear) hard R and hard L pan - for the hands (clefs) respectively, even though I have not panned that way.  This aspect I find annoying, and perhaps this element was affecting the way you were hearing it.  I appreciate your mentioning of this, and perhaps I can figure out this bug.

  • Beautiful work here Gregorio, melody, harmony and especially the overall arc I thought were very effective. It sounds mainly romantic to me and I would think this would be a challenge to a young pianist. Not being a pianist  I don't know about any technical challenges with this piece but getting an effective interpretation could be difficult.

    As Dane has mentioned, the second half from the break at 1:20 on is a great expansion of texture and sound that needs a very smooth touch to get the best result.  If the work were longer you might need more of an ending but to my ear that whole phrase says it all so the ending is fine.

    Thanks for posting this.

  • Thanks, Ingo! Im glad you liked it.  I appreciate your thoughts on the ending, which I think I have decided to keep.

    Yes, it is a bit of a challenging piece to play, but it is the last piece in the book, which has steadily become (with each piece) more complex to play.  Thanks for listening!

  • A very intricate piece. Put together very well. 

    Have you had much luck with these pieces?

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