Hi. I'm pretty new here and still finding my way around. I had originally posted in "Music Analysis and
Critique", but now think that was the incorrect thread, have deleted it and am re-posting here, as I am
seeking advice regarding the attached file: Pianouveau 2017.1.1
I am self taught, play by ear (hence no accompanying manuscript) and have been doing so since... well... since playing blues piano on the Southside of Chicago in the '60's. These days I work pretty much 'in-the-box' in my DAW.
This is a bit of a departure for me, but seems to be the direction in which I am headed.
Questions I have:
1. Genre - I call this 'Contemporary Classical.' What would you call it - what genre (be nice, now)?
2. Form - Are there too many movements? Should I distill it down to four to five favorite parts, spending more time in exploration and development of each?
I do feel that the final section absolutely stays. So if the seven minutes is just too much for you (understandable), I ask that you at least jump to 5:35 and give a listen.
[ Sidebar: When I am at the keyboard, my fingers lead me to so many interesting voicings, etc. that I don't know where to stop; 'Should this stay? Is this a separate movement? Is this an unrelated fragment belonging in another piece entirely?' ]
3.) Do you think I should attempt to more fully orchestrate it, or should it be able to stand on it's own as a predominantly solo piano piece?
Thanks for your time and thank you in advance for your patience. I look forward to your input.
Dave - I didn't take the 'meanderings' phrase as an insult, at all. Thanks for taking the time to listen and comment.
A 'smaller space' ambience, eh? Hmmm... I'm gonna' look into that and see what transpires. In the course of working on a piece, it gets so (new phrase, here) "Over Heard" that it's impossible to ever have fresh ears for it again.
When you say "naked piano", are you referring to the few incidents of synthesized sound periodically wandering in & out, or the 'violin' at the end, or "Yes"?
Bass & drums, huh?. Interesting. That just may be a pretty good idea. I'm no stranger to employing a string bass (all the more surprising I didn't go that way in the first place). But like I've previously alluded - I think it's not uncommon to experience a reciprocity factor thusly - increased repetition brings decreased sense of perspective.
I can manage a fairly good string bass. Drums may be another matter. I'd probably go with a brushy kind of set. I'm not sure I can pull that off in a convincing manner. We'll see.
Good idea, Ray. Thanks for putting on your thinking cap for me.
To be honest, I thought that the violin coming in audibly 'drier' than the piano brought
with it a heightened sense of intimacy - sort of like all previous parts emanating from a piano center
stage in a large venue, then this violin comes walking down the aisle and plops right in front of you.
But that's fine. Mind you, if I wasn't looking for fresh perspectives, I wouldn't have posted here.
When you say "VST" - are we talkin' synth or violin here?
The piano itself sounds excellent, which is hard to achieve - is it an acoustic, or output from
an electric, or a VST controlled by a keyboard? I assume it's live playing with the high degree of nuance
in the dynamics and rubato.
Thanks for the compliment. But sorry to disappoint you, modern technology strikes again. It's a grand
piano VSTi that comes standard in 'Kontakt'. Not only that, I am using my 1985 Oberheim Xk as a midi
I have since obtained a 'serious' VSTi of a Steinway D - wait'll you hear that!