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  • Hi, Gregorio,

    A most relaxing piece with some delicious harmonic progressions. I loved the build up as it progresses, initially "lounge-styled" like a clever improvisation but becoming pianistically more complex. The cross-rhythms simply flow. Relaxing it might sound but I'm guessing it's difficult to play. (You don't offer a score, shame as there are things to learn from it! At times it sounds as if 3 hands are playing and I'd love to know how the figuration at around 2'30" is fingered. Without a score it's difficult to work out how it can be played. I know of composers who would play the melody with just the little finger while doing other things with the remainder in the same hand...or suspending the tune between two thumbs in the middle but you've got me guessing here.

    Was it you performing it?

    A lovely piece, Gregorio. Warm. Luminous.

    Best wishes,

    D

     

  • Hi Gregorio,

    I really enjoyed listening to you piece. Your harmonies sound very complex to me, your writing skill must be very high. I found it pretty "mature".

    Amazing!

     

    • Hi Dane. No, I am not playing it - rendered by Sibelius. Funny thing, this one was at first intended to be improvised off of a very basic sketch... so I decided to set up the mics - and realize it that way.. But, as I kept messing with it, it grew too complicated to keep it all in my head. I did try to have it rendered by Sibelius to sound as one might play it - like an improv. - with the ebb and flow of the pulse, and adjusting volume at micro levels at many spots. 

      Your characterization is how I was hoping it would come across. I really appreciate your thoughts on this!

      I've posted the score, btw. Thanks for your curiousity. 

      Thanks for listening!

      • Hi Gabriele.

        I'm so glad you enjoyed the piece!  One could say (I suppose) that the harmonies are extended - hopefully with enough of a 'thread' to feel a very tangible harmonic unfolding.

        Im glad it came off as sounding 'mature' (perhaps in the craftmanship?). Thank you. My hope that there is something 'fresh' about it as well.

        Thank you for listening!

      • Thank you for the score. Confirms that it's difficult! Quite aside from having a good sense of 'hand independence' to cope with the differing rhythms the performer will need a nifty left hand to arpeggiate some of the chords unobtrusively (e.g. at bar 38 / 39). The passage that first made me wonder (RH starting at bar 62) does seem unplayable here and there (bar 66)? There isn't time for the left hand to touch in the A and C# along with the G# octave. BUT.... no doubt a truly accomplished pianist would find a way. 

        A very nice piece for an accomplished performer.

        • Hi Dane.  Thank you for your kind words, and your interest in looking at the score.

          I think you have misinterpreted the score at the spots you mention. At bar 62 - the treble clef: through that whole passage (through bar 73) it is the RH - playing 2 voices - that plays the part in the treble clef.

          The LH is only playing the bass clef notes.

          I wanted to write the RH in 2 voices in order to distinguish the melody from the undulating rhythm. 

          In the RH, treble clef -  the highest voice is in the longer tones (octaves).  Although it may be difficult to hold the long notes while playing the undulating rhythm just underneath (with the same hand) , the pedal use here allows it to easily be accomplished.

          I have physically played through this passage, and is quite doable.

          (Debussy has had similar passages that show this kind of treatment for the RH.) 

          Thank you!

          • No, no misinterpretation. It's our different approaches to how we'd play certain passages. 

            I'm looking particularly at the RH at bar 66 (meno mosso). The right hand plays a sustained octave on G#, presumably with thumb and 5. the A and C# that start the triplet figure simultaneously would presumably be played either with 2 & 3 or 2 & 4, which put simply, I can't do. Perhaps over time my finger independence has lost some flexibility - or your R H is a lot more flexible than mine.

            Once the G# octave is played, doesn't matter what the RH does (except play the right notes!) as the pedal is down. It's just those first notes of the first beat of bar 66 and half way through bar 67 at which point I'd cheat and do the triplets with the left hand.

            However, it could be you're a far more profficient pianist than me (which isn't difficult) and have found a fingering to play it with the requisite smoothness and tempo, dynamic 'p', as asked!

            No matter though and thanks for the response. 

             

            • Thanks for your interest in trouble shoolting this, Dane.  I appreciate your effort. (I don't consider it cheating to bring the LH in to help.  Whatever works. For me, it is the pedal that makes it easy.)

              You mention:  "The right hand plays a sustained octave on G#, presumably with thumb and 5. the A and C# that start the triplet figure simultaneously would presumably be played either with 2 & 3 or 2 & 4, which put simply, I can't do. " 

              I've been lucky to have a hand that can reach a tad beyond a tenth - and don't find playing 2 and 3 on A and C# while holding the octave to be much trouble.. I do use the pedal so that the octave needn't be held after the first eighth of the triplet.

              (The alternate the RH fingering with 13, and 24.)

              It may be seen as cheating, technically, but I wanted to show  the compositional distinction of the upper octave voice - and not make it embedded as part of the triplet rhythm..  (Of course with the pedal down, it would sound exactly the same.)

              In fact, Im all for cheating, as long as the compositional structure is understood.

              (btw, I do play alot, as Im a piano teacher by trade.)

              I do appreciate you questioning this, as I always want to know if something may be impossible to do. Oh, it just hit me - could you try playing that chord G# A  C# G# - with the fingers (respectively)  2 (on G#),  1 (on A),  3 (on C#), and 5 (on G#).

              With this fingering it is an easier reach. Can you give it a try and let me know?

              Thanks so much, Dane.

               

               

  •  Great stuff Gregorio, I liked this a lot and listened twice.  You say post romantic which is pretty inclusive I guess. I'm hearing a mixture of jazz ballad with a healthy dose of impressionism in the last minute or so.  Well what ever, this is both modern and accessible and enjoyable, thanks for sharing.

    The only thing I don't get is the title; sounds like there's a story behind that?

    • Hi  Ingo.

      Im glad you liked the piece,and were  pulled back for a second listening! 

      Yes, 'post romantic' is pretty undescriptive - and I think your characterization as a mixture jazz/impress.  frames it better.  But, the idea you mention, "modern and accessible and enjoyble" -  is really what I was hoping for! Thank you for that!

      The title refers to when this piece was just a rough outline of a melody and chord voicing, and some counterpoint - which I was using as a 'scrappy map' for improvising the piece..
      But as I got deeper into the process, the piece seemed to demand a more formal approach as to note specificity and the rhythm - and became a 'composition.' I just decided to keep the original title.

      Thank you! 

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