So, I'm kind of new to this whole composing thing. I've only been doing it since early May 2009, but I truly enjoy every aspect of it. I also enjoy listening to what others imagine music to be. To me it's like a peek inside of their emotions.
I've only uploaded one piece for piano, for it is the only instrument I can play moderately well. I'm wondering if anyone could share tips about composing for piano or say something about the piece. It was composed in Finale Notepad 2009. Also, sorry the score looks so messy. I don't really know how to manipulate notepad so that I can adjust spacing between the clefs and whatnot.
Lullaby - My interpretation of a Lullaby. I've heard so many throughout my life I figured that I should give an attempt at composing one. Believe it or not, I put a lot of time and effort into this one.
However the score is the problem for me. C sharp major ! - never seen that key signature in my life before (has anyone else on this forum I wonder ?). Db major would have been the obvious enharmonic equivalent.
Also the left hand parts (most of the piece) where the notes go well into the treble register are still written in the bass clef, even though there are too many ledger lines for even the trained professional to read (without counting lines).
In this sort of situation the norm is insert a bass clef where needed and then a treble and back again, even if the change takes place within the bar - many times over in the piece. And if that seems unsightly then maybe even think about a third stave just for the bass notes.
So in conclusion, enjoyed the music, but would have torn my hair out over the score.
Sorry just read that you did this in Finale notepad - I'm sure you would re-score it better if in a better program. But at least change the alien key signature !
I'd like to know the opinion of others on this, but for me, the key signature of C# major is much better understood in the form of Db major, a far less uncommon key for the piano.
Does anyone know of any examples of pieces with 7 sharps in the piano repertoire ?
Anne Goodwin said:
One final thought is Chopin's Raindrop prelude.
The outer sections are in Db major and the middle section is in C# minor. It would have made more sense for chopin to have just used the tonic major and then the tonic minor, but he must have had a reason to use Db major rather than C# major - he maybe thought that C# major was just too obscure.
Why didn't he use the tonic minor of Db major in the middle (instead of the enharmonic C# minor) ?
Well, Db minor would have been even more obsure. Db minor would have required the same flats as F flat major - which is an ultra-silly key - as it's exactly the same as E major. So that's why the middle had to be C# minor.
So why did he choose Db major instead of C# major for the outer sections is the question we're left asking. (as a piece that moves from the tonic major to tonic minor and back is more obvious a choice than the enharmonic switch for the middle from flat key to sharp key and back again).
I would hazard a guess that Chopin did not favour C# major as a key choice for the outer sections. It was (and is) too unfamiliar to pianists and nearly all other musicians.
Anne Goodwin said:
I'm thinking I should change the key to Db major. It only will take me a few seconds really to fix and won't seem so strange. I was thinking of rewriting the entire thing by hand (for finale notepad cannot do what I need it to do) so the score will become somewhat readable. I'll separate the top voice and the middle voice/triplets each with their own treble clef staff and the bottom voice with a bass clef staff just as Adrian had suggested.
Anne, I agree about the stops, but I'm not sure how I want to approach the situation. My gut tells me not to add extra notes, for I kind of want the pause, but I think the pause is just a second too long. Maybe add a tiny quiet 8th note? Just enough to be heard as well as giving a pause but a slightly shorter pause. I'll also fix some of the dynamic issues so it wont be over the top in areas it shouldn't be. As for the 4 note chords, I really don't want to remove them....I'm sorry :(. I don't want to sound like an arrogant guy who thinks his way is the only way, but that's probably one of my favorite parts...If you have anymore suggestions I could use as an alternate so the 4 note chords didn't bother you I would be more than happy to listen.
Thanks for the comments Adrian and Anne, much appreciated!!!
Welltempered tuning allows us to settle with a simple conclusion: it's a "reading" issue...
In the age of atonality, key signatures do not play such a major role as they used to, since NO(!) key signature is needed to write (e.g.) chromatic or other "systematic" schemes.
In modern compositions, you even have a Piece called "Symphony in E"... relating to the atonality of that piece...
Just can't see two (obviously) knowledgable musicians discussing... about such things.. ... ... ... etc. ...
Anne Goodwin said:
and in terms of should we dispense with keys completely...well, yes in atonal modern music, but in tonal modern music there is still a complelling case for stating a key signature if the music by and large stays within that key - as this piece indeed does.
Anne Goodwin said:
Music has rules for academics who need to be able to deconstruct what they are hearing. For me, I can't help but wonder if such people actually "hear" music, as hearing is what music is about, not deconstruction. Perhaps the sheet music is hard for some to read, I cannot speak to that, but I think what I heard was quite wonderful, rules or no rules.
I also do not think this was atonal. There are many forms of music and many different ways of hearing.