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Prelude In F major No. 1 for piano - score included- andante...
A rather early work of mine...
Hope everyone enjoys it...
Cheers,
Saul
I have to ask about the time signature. It sounds very much like it's in 4/4, so I was surprised to see it in 3/4 in the score. Listening while following along in the score is a strange experience, as there seems to be no connection (to my ears) between the "real" pulse of the piece and the placement of the score's barlines.
Am I missing something? Why did you make the score in 3/4? Just curious.
Prelude In F major No. 1 for piano - score included- andante...
A rather early work of mine...
Hope everyone enjoys it...
Cheers,
Saul
I have to ask about the time signature. It sounds very much like it's in 4/4, so I was surprised to see it in 3/4 in the score. Listening while following along in the score is a strange experience, as there seems to be no connection (to my ears) between the "real" pulse of the piece and the placement of the score's barlines.
Am I missing something? Why did you make the score in 3/4? Just curious.
-J
I guess I thought that the left hand accompaniment and harmonic structure matches the 3/4 mark better then the rest. But yet again, you're right, it can be also written in 4/4 and also 2/2...I wrote the piece a long time ago, so I don't really recall the exact reason why I chose this TS, but nevertheless, it doesn’t create a real problem with the music as far as I'm concerned.
One of two of my impressionist pieces for Solo Piano.
Watercolor Painting In F sharp major - Allegro - Score Included.
The impressionist movement in music was a movement in European classical music, mainly in France which appeared in the late nineteenth century and continued into the middle of the twentieth century. Similarly to its precursor in the visual arts, musical Impressionism focuses on a suggestion and an atmosphere rather than on a strong emotion or the depiction of a story as in program music. Musical Impressionism occurred as a reaction to the excesses of the Romantic era. While this era was characterized by a dramatic use of the major and minor scale systems, Impressionist music was tending to make more use of dissonance. Rather uncommon scales such as whole tone scale are also typical for this movement. Romantic composers were using long forms of music, e.g. symphony and concerto, while Impressionist composers were favoring short forms such as nocturne, arabesque and prelude.
what can we expect ? Super stoked. Did you get the new version of SIbelius ? IT comes with a plugin that reduces the overall suckyness of a work. Anyways, you should check it out.
what can we expect ? Super stoked. Did you get the new version of SIbelius ? IT comes with a plugin that reduces the overall suckyness of a work. Anyways, you should check it out.
[/quote]I guess I thought that the left hand accompaniment and harmonic structure matches the 3/4 mark better then the rest. But yet again, you're right, it can be also written in 4/4 and also 2/2...I wrote the piece a long time ago, so I don't really recall the exact reason why I chose this TS, but nevertheless, it doesn’t create a real problem with the music as far as I'm concerned.[/quote]
It makes it quite hard to play! Most of us have the rhythmic pulse as a basis of our reading and playing, we don't just progress from note to note.
Surely this must have been merely a bad decision in a notation program that you failed to catch when proof-reading?
[/quote]I guess I thought that the left hand accompaniment and harmonic structure matches the 3/4 mark better then the rest. But yet again, you're right, it can be also written in 4/4 and also 2/2...I wrote the piece a long time ago, so I don't really recall the exact reason why I chose this TS, but nevertheless, it doesn’t create a real problem with the music as far as I'm concerned.
It makes it quite hard to play! Most of us have the rhythmic pulse as a basis of our reading and playing, we don't just progress from note to note.
Surely this must have been merely a bad decision in a notation program that you failed to catch when proof-reading? [/quote]
Interesting that I showed the same piece of music to a piano teacher in Juilliard. and he was impressed and took a copy to show to his Professor, he didn’t say anything about the notation, in fact he even played the piece for me.
I guess I thought that the left hand accompaniment and harmonic structure matches the 3/4 mark better then the rest. But yet again, you're right, it can be also written in 4/4 and also 2/2...I wrote the piece a long time ago, so I don't really recall the exact reason why I chose this TS, but nevertheless, it doesn’t create a real problem with the music as far as I'm concerned.
Quote
It makes it quite hard to play! Most of us have the rhythmic pulse as a basis of our reading and playing, we don't just progress from note to note.
Surely this must have been merely a bad decision in a notation program that you failed to catch when proof-reading?
Interesting that I showed the same piece of music to a piano teacher in Juilliard. and he was impressed and took a copy to show to his Professor, he didn’t say anything about the notation, in fact he even played the piece for me.
I find it very hard to believe that he approved the notation, even if he chose to only make positive comments! Send it to a few musicians that you respect. Ask the direct question "should this be notated in 3/4 or 4/4?".
Unfortunately, you have previously presented yourself as a person who cannot accept criticism. Many people will take this on board and offer only encouragement. This avoids fireworks, but slows down your musical development!
FYI, because of Saul's recent actions in the Pianists' Corner, he has been removed from Piano World. I realize his comments and compositions were valued by some, but his inability to refrain from making abusive comments to others while baiting/inviting others to do the same towards him have made it difficult to maintain the peace.
This decision was considered and agreed upon by all the administrators.
His thread will remain open here, but he will be unable to reply.
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt)
