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#2293985 - 06/23/14 05:30 PM Waltz in B flat
Polyphonist Offline
7000 Post Club Member

Registered: 03/03/13
Posts: 7512
Loc: New York City
I have recently been asked to provide comments and recordings along with works that I post. So I am going to write comments here, in addition to posting a recording to eliminate any reading ability this community may still possess. Here is the recording:

http://picosong.com/PgTf/

Be aware that this does not guarantee that all further works will come with recordings. I am afraid those who cannot read music will be excluded from the postings that do not have recordings.

Now for the comments - first listing some irrelevant information that a certain member seems to be very interested in (rather than looking at the piece itself):

Date of composition: June 23, 2014.
Location: Part at home, and part in the library.
Time spent: 45 minutes.
Number of pages: 2.
Duration: 40 seconds.

The piece is in typical ABA form, containing a 16-bar A section and an 8-bar B section. A 4-bar coda replaces the final 2 bars of the A section at the end of the piece. The B section is the strongest part, followed by the coda.

I really don't know what else to say about it. Nikolas and Steve, this was your suggestion - perhaps you could tell me what else you would like to see in terms of comments.

Without further ado, here is the score, although nobody is likely to even look at it at this point.



Enjoy.
_________________________
Regards,

Polyphonist

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#2294014 - 06/23/14 06:55 PM Re: Waltz in B flat [Re: Polyphonist]
Steve Chandler Online   content
2000 Post Club Member

Registered: 02/18/05
Posts: 2698
Loc: Urbandale, Iowa
That's a charming piece. There were some especially spicey moments, the e natural in bars 21 - 23, the 16ths in bars 8 and 32 (bar 16 too split between the hands) and the extended phrase at the end. All of that served to add just enough unpredictability to make this piece a pleasure to listen to despite the midi performance. Job well done.

As for comments, I'm curious what made you want to compose a waltz?

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#2294020 - 06/23/14 07:08 PM Re: Waltz in B flat [Re: Polyphonist]
JoelW Offline
4000 Post Club Member

Registered: 05/25/12
Posts: 4762
Loc: USA
Do you always score in a minimalistic fashion? Do you ever write for professional purposes and still score this way? I ask because it's interesting, not because I think there's anything wrong with it. Why do you do it?

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#2294032 - 06/23/14 07:40 PM Re: Waltz in B flat [Re: JoelW]
Polyphonist Offline
7000 Post Club Member

Registered: 03/03/13
Posts: 7512
Loc: New York City
Originally Posted By: Steve Chandler
As for comments, I'm curious what made you want to compose a waltz?

Nothing in particular. I just realized I hadn't written one in a while, and the theme came very easily, so I turned it into a piece.

Originally Posted By: JoelW
Do you always score in a minimalistic fashion?

You mean without a lot of dynamics and articulations? I prefer to leave it up to the performer. (Also, the performer is usually me, and obviously I don't need to read markings on my own score.)
_________________________
Regards,

Polyphonist

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#2294136 - 06/24/14 01:03 AM Re: Waltz in B flat [Re: Polyphonist]
Nikolas Offline
5000 Post Club Member

Registered: 11/26/07
Posts: 5220
Loc: Europe
I'll attempt once more to explain things to you, before I carry on commenting on this piece (just because my name appears in your OP).

1.
Quote:
So I am going to write comments here, in addition to posting a recording to eliminate any reading ability this community may still possess.
I'll give you an example. Right now it's 07:33 in Bahrain. While my profile reads "Europe", Bahrain unfortunately isn't in Europe. It's in Asia.

And what's more interesting than the sites, the sights (just in case of a spelling issue from my behalf), and the country itself, it's the fact that I don't have access to a piano.

Moreover, as I've explained in the past, I don't have a tablet handy, and only this laptop is connected on the Internet (unlike my music PCs which are never connected).

All this means, in effect, that I'm not able to try my musical abilities in sight reading your score.

Had you not posted a recording, you would have left me with my inner ear (which does work fine, overall, but not amazingly well to understand everything from looking at a computer screen).

I hope that this will give you an example why a recording might come in handy.

2.
Quote:
first listing some irrelevant information that a certain member seems to be very interested in (rather than looking at the piece itself)
I think that the certain member would be me, but you're attempting to separate this particular comment from everything else.

I'll jog your memory by reminding you this: "Compared to some of the crap that gets posted here, this is pure gold."

Your definition of "pure gold" is rather striking: You spend 45 minutes in a work (I'm assuming you work straight into Sibelius, which would mean quite a bit for your own musicality (*ahem*), as well as the time spend to shape the score) and then present it as pure gold, compared to the rest that is posted here? Then you work on 8 chorales in a matter of minutes each, while in an airport and spend 4 threads here.

Overall, I'm not (generally speaking) the one to stay too much on such issues (as opposed to what you'd like to think), but this is a bit ridiculous. Not for the worth of any composition (I've heard AMAZING stuff from people who don't read music and just improvise on the piano, or people who, on the fly, create masterpieces), but the combination of this, along with your "pure gold" comment in conjunction with the rest of the "crap" that gets posted here... well... caught me off guard.

3. As it so happens, I do believe that generally speaking people compose for a reason. I guess that many compose out of habit (especially in the past), or out of necessity, but I'd like to think that when Chopin was working on the preludes he had a general plan (compose 24 of them in all tonalities). Same with Bach and his WTC, etc. On the other hand Chopin also wrote plenty of Waltzes and Mazurkas without an apparent plan there. So I don't know... (thinking out loud here).

But it remains for me that I am interested on why someone did something. Just take a look at my own thread called "Continuity". Of course I'd have tons to say about the work and the technicalities, but there is a little history in there (when it was composed, etc, and not posted as a list), there's a review from someone else about the piece, and a recording that took me actually quite long to complete (went into a studio, etc). A central point (about golden ratio), etc...

4.
Quote:
Without further ado, here is the score, although nobody is likely to even look at it at this point.
I hope you remember me commenting a lot on some of your scores, right? You are being rather forgetful.

In addition to that there's this which makes me wonder about something:
Quote:
You mean without a lot of dynamics and articulations? I prefer to leave it up to the performer. (Also, the performer is usually me, and obviously I don't need to read markings on my own score.)
So by your own words these works are not for sharing, but for yourself. You won't spend any time in fixing the score, which as up to now, is the usual medium with which you share your works, because... the performer is usually you.

So which is it?

5. Finally, there's my continuous question on what it is that YOU are looking for when posting. Is it worth it to comment on the score? As it stands no because you leave it blank on purpose, in terms of details, articulations, etc. Is it worth it to comment on the performance? No, cause it's a midi performance (in this case), and if not, it's not what you're looking for (unless I'm misunderstanding something) when you post. Is it worth it to comment on the composition itself? No, cause apparently you've never changed a bit in your music based on any suggestion, and you create new ones on the fly (which, don't get me wrong, is marvelous, great and a lot of your works are fine works).

So,

________________________________

The piece itself is quite nice. It's a nice melody, the form certainly works, so all is well.

I do feel that it's staying quite a bit on the Bb major tonality and it's Dominant (Doh! It IS in Bb... I know), just feels that it could have some variation based on what's going on in the middle section.

The middle section, again I think, changes the chord progression tempo to a much faster pace, which confuses things, but it all seems to balance out in the end.

Finally, I think that it's the midi but the 16ths feel a little out of place, if you keep the strict computer tempo (but I'm guessing that a pianist wouldn't do that).

The score is without any details, which can be troublesome for any performer, but you've already covered that part with your replies. Still, while any experienced pianist would be able to tell what's going on, on the other hand a less experienced pianist would have a bit of trouble.

For example bars 5 and 6, RH, would these be legato or staccato?

_______________________________

If anything I hope that this will provide a base for a civil discussion. You may feel it's trolling, but I'm certainly not interested in that at this point. Merely grabbing your points and replying as it goes.

Moreover I hope you can realize that I spent a full hour typing this reply...
_________________________
http://www.musica-ferrum.com

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#2294142 - 06/24/14 01:33 AM Re: Waltz in B flat [Re: Nikolas]
Polyphonist Offline
7000 Post Club Member

Registered: 03/03/13
Posts: 7512
Loc: New York City
Originally Posted By: Nikolas
along with your "pure gold" comment in conjunction with the rest of the "crap" that gets posted here... well... caught me off guard.

You seem to be dwelling on one remark which was intended humorously, although, as another member has pointed out, there was more than a grain of truth to it.

Originally Posted By: Nikolas
I'm assuming you work straight into Sibelius, which would mean quite a bit for your own musicality (*ahem*),

Not sure what you mean here, but for the chorales, I actually handwrite them down first, then enter them into Sibelius. This waltz was composed straight into the program.

Originally Posted By: Nikolas
But it remains for me that I am interested on why someone did something. Just take a look at my own thread called "Continuity". Of course I'd have tons to say about the work and the technicalities, but there is a little history in there (when it was composed, etc, and not posted as a list), there's a review from someone else about the piece, and a recording that took me actually quite long to complete (went into a studio, etc). A central point (about golden ratio), etc...

Well, as for the history, I did tell you when and where it was composed, and how long it took to do it. I don't have any reviews from someone else, and I'm not planning to record anything in a studio anytime soon.

Originally Posted By: Nikolas
Is it worth it to comment on the score? As it stands no because you leave it blank on purpose, in terms of details, articulations, etc.

How does that follow? Just because the score is not heavily decorated doesn't mean it's not worth commenting on. In fact, it's easier to get to the essentials in discussing the composition when the score is very direct.

Originally Posted By: Nikolas
Is it worth it to comment on the composition itself? No, cause apparently you've never changed a bit in your music based on any suggestion...

That is false.

Originally Posted By: Nikolas
Finally, I think that it's the midi but the 16ths feel a little out of place, if you keep the strict computer tempo (but I'm guessing that a pianist wouldn't do that).

That would be a MIDI problem - there's no way to get it to play them right.

Originally Posted By: Nikolas
For example bars 5 and 6, RH, would these be legato or staccato?

Something between the two, again at the discretion of the performer.

Originally Posted By: Nikolas
Moreover I hope you can realize that I spent a full hour typing this reply...

I would like to believe that this isn't a passive-aggressive jab at me, but I really can't. You're making the point that you took longer replying to the thread than I did writing the piece, but that's not my fault. Are you annoyed at me for composing fast, just because you can't? Or perhaps you think the time spent on a composition dictates its quality - this is also not true. Spending longer on this piece would not have helped me improve it, it would have simply wasted time. I would love to hear if you have any evidence to support the opposing opinion.

----------------

Hope to have a reply from you on some or all of this.
_________________________
Regards,

Polyphonist

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#2294145 - 06/24/14 01:46 AM Re: Waltz in B flat [Re: Polyphonist]
JoelW Offline
4000 Post Club Member

Registered: 05/25/12
Posts: 4762
Loc: USA
Originally Posted By: Polyphonist
Originally Posted By: Nikolas
Moreover I hope you can realize that I spent a full hour typing this reply...

I would like to believe that this isn't a passive-aggressive jab at me, but I really can't. You're making the point that you took longer replying to the thread than I did writing the piece, but that's not my fault. Are you annoyed at me for composing fast, just because you can't? Or perhaps you think the time spent on a composition dictates its quality - this is also not true. Spending longer on this piece would not have helped me improve it, it would have simply wasted time. I would love to hear if you have any evidence to support the opposing opinion.

I think Nikolas just means that he genuinely cares about the community here and is willing to put effort into discussing these issues, instead of just blowing you off and ignoring your activity altogether.

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#2294148 - 06/24/14 02:05 AM Re: Waltz in B flat [Re: Polyphonist]
Nikolas Offline
5000 Post Club Member

Registered: 11/26/07
Posts: 5220
Loc: Europe
Quote madness! grin And I've started it!

Originally Posted By: Polyphonist
Originally Posted By: Nikolas
along with your "pure gold" comment in conjunction with the rest of the "crap" that gets posted here... well... caught me off guard.

You seem to be dwelling on one remark which was intended humorously, although, as another member has pointed out, there was more than a grain of truth to it.
Once again we're caught between semantics I think.

But it seems that this is becoming a habit of my misunderstanding you (and most probably you alone, cause I don't seem to have any issues with anyone else here).

Are you happy to meet in the middle here? It certainly wasn't a great remark (in fact, as I said there it seems rather obnoxious), and with the lack of any smileys, it's next to impossible to tell if it's humorous or not (notice the quote madness thing above, with the big grin next to it?).

BTW, I get the impression that Steve was just being modest about his own works...

Quote:
Originally Posted By: Nikolas
I'm assuming you work straight into Sibelius, which would mean quite a bit for your own musicality (*ahem*),

Not sure what you mean here, but for the chorales, I actually handwrite them down first, then enter them into Sibelius. This waltz was composed straight into the program.
What I mean is that you keep commenting about the reading ability of the forum members, yet you seem to be using Sibelius as a crutch to listen to what you, yourself is doing. This WAS a stab, so sorry about that.

But the point remains: if you can't, yourself listen to what you're doing, do you expect others to do so?

That, along with the the whole first point of mine (being in Bahrain, and away from a piano).

Quote:
Originally Posted By: Nikolas
But it remains for me that I am interested on why someone did something. Just take a look at my own thread called "Continuity". Of course I'd have tons to say about the work and the technicalities, but there is a little history in there (when it was composed, etc, and not posted as a list), there's a review from someone else about the piece, and a recording that took me actually quite long to complete (went into a studio, etc). A central point (about golden ratio), etc...

Well, as for the history, I did tell you when and where it was composed, and how long it took to do it. I don't have any reviews from someone else, and I'm not planning to record anything in a studio anytime soon.
My thread was given as an example.

The point, which I hope this time comes across is that if you want to share something it would be nice to know a few things more about your works, rather than technicalities, or a list to fulfil my own wishes... :-/

Obviously, as I said myself, not every piece will have a history, or a lot to talk about, but heck... we have 100s of dead composers and we can get nothing out of them. Now that we have you and me alive, why not take something extra?

Quote:
Originally Posted By: Nikolas
Is it worth it to comment on the score? As it stands no because you leave it blank on purpose, in terms of details, articulations, etc.

How does that follow? Just because the score is not heavily decorated doesn't mean it's not worth commenting on. In fact, it's easier to get to the essentials in discussing the composition when the score is very direct.
Well, if you leave it blank of articulations, dynamics, etc, this would mean that you don't care for these details, enough to write them down, I think. As you said so yourself pretty much anyhow.

In which case why comment on something that the composer isn't interested in?

Quote:
Originally Posted By: Nikolas
Is it worth it to comment on the composition itself? No, cause apparently you've never changed a bit in your music based on any suggestion...

That is false.
Could be that it happened, but the point is different here.

When I post something, most usually it's a finished work, most probably published (you know... with an ISMN, recorded, printed, sold, etc). So the point of changing anything is a little moot. BUT still I have been notified of various errors in my commercially available scores and on one occasion I put in the changes, in the next print run, along with a thank you note to Chris (in particular). On another occasion I actually reprinted the score and sent to all the clients a new copy (because the score was a real mess).

For the rest usually it's not worth doing anything.

I simply don't know how and why to comment on your works. As a teacher? As a fellow composer? As a student? As a listener? As the audience? As...

Quote:
Originally Posted By: Nikolas
Finally, I think that it's the midi but the 16ths feel a little out of place, if you keep the strict computer tempo (but I'm guessing that a pianist wouldn't do that).

That would be a MIDI problem - there's no way to get it to play them right.
Thought so.

Quote:
Originally Posted By: Nikolas
For example bars 5 and 6, RH, would these be legato or staccato?

Something between the two, again at the discretion of the performer.
I guess so, but this is, perhaps, a separate discussion about the clarity of scores and the current notation an the will of composers to dictate more or less directly the performers... I AM having trouble with this you know... (on my own works I mean)

Quote:
Originally Posted By: Nikolas
Moreover I hope you can realize that I spent a full hour typing this reply...

I would like to believe that this isn't a passive-aggressive jab at me, but I really can't. You're making the point that you took longer replying to the thread than I did writing the piece, but that's not my fault. Are you annoyed at me for composing fast, just because you can't? Or perhaps you think the time spent on a composition dictates its quality - this is also not true. Spending longer on this piece would not have helped me improve it, it would have simply wasted time. I would love to hear if you have any evidence to support the opposing opinion.
1. I'm not annoyed overall (I hope it is clear).
2. I can composer very fast, just don't think that most results are worthy of showing to the public.
3. Could be. Don't you think that the quality of a piano correlates to the quality of the student? Why not about the time spent in a composition? wink

----------------

Quote:
Hope to have a reply from you on some or all of this.
Happy (honestly) to oblige! smile

PS. And what Joel says.
_________________________
http://www.musica-ferrum.com

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#2294151 - 06/24/14 02:17 AM Re: Waltz in B flat [Re: Nikolas]
Polyphonist Offline
7000 Post Club Member

Registered: 03/03/13
Posts: 7512
Loc: New York City
Originally Posted By: Nikolas
Quote:
Originally Posted By: Nikolas
I'm assuming you work straight into Sibelius, which would mean quite a bit for your own musicality (*ahem*),

Not sure what you mean here, but for the chorales, I actually handwrite them down first, then enter them into Sibelius. This waltz was composed straight into the program.
What I mean is that you keep commenting about the reading ability of the forum members, yet you seem to be using Sibelius as a crutch to listen to what you, yourself is doing. This WAS a stab, so sorry about that.

But the point remains: if you can't, yourself listen to what you're doing, do you expect others to do so?

Don't know where you got that idea, but you're certainly wrong. In fact, the only time I ever use the playback feature is if I have to preview a recording that I'm releasing here.

Originally Posted By: Nikolas
The point, which I hope this time comes across is that if you want to share something it would be nice to know a few things more about your works, rather than technicalities, or a list to fulfil my own wishes... :-/

Obviously, as I said myself, not every piece will have a history, or a lot to talk about...

Exactly. I'm not sure what you want to hear about. Now, I see that someone wants to know "why I wanted to write a waltz." To me, this seems like a question venturing dangerously close to trolling territory (no offense intended). If you don't want to hear about technicalities, and you don't like the other information I listed, then what DO you want to know? (Serious question.)

Originally Posted By: Nikolas
I simply don't know how and why to comment on your works. As a teacher? As a fellow composer? As a student? As a listener? As the audience? As...

Well, it depends what you ARE. Probably "fellow composer" is closest to the mark, since that is indeed what you are. grin As for why - I don't see that I have to provide you a reason to comment on my works. You would only comment if you think it's worth commenting on, and that is entirely up to you. What kind of things would you say? That's also up to you. Why are you asking me to direct what kinds of things I want you to comment about? I have no particular desire to hear any one type of comment.

Originally Posted By: Nikolas
Don't you think that the quality of a piano correlates to the quality of the student? Why not about the time spent in a composition? wink

Because there is no reason that it would correlate. The composition is finished, the score is prepared - what else is there to do?
_________________________
Regards,

Polyphonist

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#2294158 - 06/24/14 02:39 AM Re: Waltz in B flat [Re: Polyphonist]
Nikolas Offline
5000 Post Club Member

Registered: 11/26/07
Posts: 5220
Loc: Europe
I have to go now, so I don't have the time to comment, but more to come later on.

Good night...
_________________________
http://www.musica-ferrum.com

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#2294164 - 06/24/14 02:50 AM Re: Waltz in B flat [Re: Polyphonist]
Polyphonist Offline
7000 Post Club Member

Registered: 03/03/13
Posts: 7512
Loc: New York City
Indeed.
_________________________
Regards,

Polyphonist

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#2294249 - 06/24/14 08:54 AM Re: Waltz in B flat [Re: Polyphonist]
Nikolas Offline
5000 Post Club Member

Registered: 11/26/07
Posts: 5220
Loc: Europe
I'm back! grin Had a great time with the kids and all that in a wildlife park!

Now, on to a more general comment, in hopes that I'm able to express it.

It seems to me that you're the one who should be answering questions instead of trying to get me to answer yours.

The idea remains:

Why do you post? If the score's finished, done, etc, then there's no reason to offer feadback. If it is to share with the public, you're probably doing a poor job (at least for me, who, as I said am unable to do much with what you're offering). If it is to teach (to read music, otherwise the quality will deteriorate, and so on), then you're again not doing a stellar job, with the lack of comments.

The point is not for me to know how to comment, but for you to tell me what you're after.

Eventually if you're after nothing, then don't post and don't clutter (or clatter?) the forum so intensely.

Why are you trying so hard to NOT be a part of this community? At least from what I'm seeing over here, and I'm sorry to say this. You have 7000 posts, but I'm still unclear on so many things, which is why I keep asking the same questions and I'm getting in return, mostly questions of your own...

And I AM being honest here. If you've noticed some of my posts to other people, I tend to ask what they're after, what is "this" for, how long have they been studying music, etc. In fact, check with Joel, if you want, cause he came for some advice and I did ask the same things (age, knowledge, experience, etc). How else are we supposed to know what to say?

_______________________________________

Apart from all of this, it could be the case that you're just offering your scores "just because", same as any composer does when publishing a work and remains unattainable. Or same as any dead composer, who we can't chat with, skype with, facebook with, or exchange posts with.

If this is the case, I find it a real pity, but it's ok. Scrap everything else above and let's carry on. But usually it isn't so, and people tend to ask for advice, or advertise something, etc. At least I know that most of the members here do, so I am (was?) assuming that this was the case here.
_________________________
http://www.musica-ferrum.com

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#2294324 - 06/24/14 12:52 PM Re: Waltz in B flat [Re: Nikolas]
Polyphonist Offline
7000 Post Club Member

Registered: 03/03/13
Posts: 7512
Loc: New York City
Originally Posted By: Nikolas
Why do you post? If the score's finished, done, etc, then there's no reason to offer feadback. If it is to share with the public, you're probably doing a poor job (at least for me, who, as I said am unable to do much with what you're offering). If it is to teach (to read music, otherwise the quality will deteriorate, and so on), then you're again not doing a stellar job, with the lack of comments.

And here we are back to the same issue, in that you still have not given me any specific answers about what you want me to say in said comments. Most of your advice has been general things that usually don't apply to the pieces under discussion.

Originally Posted By: Nikolas
Eventually if you're after nothing, then don't post and don't clutter (or clatter?) the forum so intensely.

There is such a thing as an online dictionary - simply search up one of the words and find out if it's the one you intended, instead of making a wild guess at it or using both of them.

Originally Posted By: Nikolas
Why are you trying so hard to NOT be a part of this community?

You seem to be obsessed with accusing me of this, but I'm not aware that I have ever tried not to be a part of the community here. In fact, I'd say I'm one of the foremost members of it. For example, the joint variation project a while ago, which I was the most active participant in, and in which you refused to participate. wink

Originally Posted By: Nikolas
which is why I keep asking the same questions and I'm getting in return, mostly questions of your own...

Notice you haven't answered any of my questions either. laugh

Originally Posted By: Nikolas
You may be offering your scores "just because." If this is the case, I find it a real pity...

Why? Just because I'm not specifically fishing for advice, or advertising anything, means my posts are not worth reading, and that I'm cluttering (or clattering) the forum?
_________________________
Regards,

Polyphonist

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#2294340 - 06/24/14 01:34 PM Re: Waltz in B flat [Re: Polyphonist]
gsmonks Offline
500 Post Club Member

Registered: 08/17/10
Posts: 607
Loc: Saskatchewan, Canada
Is thread this point telling down obfuscate but dearth sink-hole plebeian frisk-pants awkward? Untoward or froward (not forward) whilst leaning implies self-congratulatory primping of man-boobs and frowning importantly. Erstwhile flatulence comports obedience to regulated satiation at frequent stations. Corpus delicti, wangle the spanner, and be sure to keep your stub.

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#2294341 - 06/24/14 01:36 PM Re: Waltz in B flat [Re: Polyphonist]
JoelW Offline
4000 Post Club Member

Registered: 05/25/12
Posts: 4762
Loc: USA
What he said.

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#2294346 - 06/24/14 01:48 PM Re: Waltz in B flat [Re: Polyphonist]
Polyphonist Offline
7000 Post Club Member

Registered: 03/03/13
Posts: 7512
Loc: New York City
Why are we trashing the thread now?
_________________________
Regards,

Polyphonist

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#2294348 - 06/24/14 01:50 PM Re: Waltz in B flat [Re: Polyphonist]
JoelW Offline
4000 Post Club Member

Registered: 05/25/12
Posts: 4762
Loc: USA
Ask gsmonks. grin

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#2294350 - 06/24/14 02:03 PM Re: Waltz in B flat [Re: Polyphonist]
gsmonks Offline
500 Post Club Member

Registered: 08/17/10
Posts: 607
Loc: Saskatchewan, Canada
I was merely addressing this thread's salient features.

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#2294359 - 06/24/14 02:26 PM Re: Waltz in B flat [Re: Polyphonist]
Nikolas Offline
5000 Post Club Member

Registered: 11/26/07
Posts: 5220
Loc: Europe
Polyphonist: I've address pretty much every question you made.

On the other hand you've decided to twist my words, cut phrases in half, and change the meaning. I'm single not buying it that you don't understand why it's a pity, when I've mentioned the unattainable, dead composer, missing, etc, right before. Even more, you don't like it when I'm too busy to bother (because I happen to have a life outside of PW).

I'm honestly sorry that I failed to believe the advice I was given to let go! frown
_________________________
http://www.musica-ferrum.com

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#2294370 - 06/24/14 03:08 PM Re: Waltz in B flat [Re: Nikolas]
Polyphonist Offline
7000 Post Club Member

Registered: 03/03/13
Posts: 7512
Loc: New York City
Originally Posted By: Nikolas
On the other hand you've decided to twist my words, cut phrases in half, and change the meaning.

No, I haven't done that. The meaning of the statements I quoted was quite clear.

Originally Posted By: Nikolas
Even more, you don't like it when I'm too busy to bother.

More unfounded accusations. Where is your evidence of this?
_________________________
Regards,

Polyphonist

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#2294410 - 06/24/14 04:35 PM Re: Waltz in B flat [Re: Polyphonist]
JoelW Offline
4000 Post Club Member

Registered: 05/25/12
Posts: 4762
Loc: USA
I'm less interested in Nikolas's concerns and more curious as to why Polyphonist chooses to submit large quantities of so-so works rather than a lower output of his best efforts. There are, that I can recall, three works that I actually find quite good. But as far as posting 20+ chorales in 10 different threads, why? Writing a set and posting them in one thread via IMSLP would be much preferred. It's NOT overwhelming that way. What's overwhelming is 10 different threads.

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#2294442 - 06/24/14 05:50 PM Re: Waltz in B flat [Re: Polyphonist]
BrainCramp Offline
Full Member

Registered: 04/09/12
Posts: 254
Loc: USA
Poly,

I actually listened to your waltz and read the score. It's a good thing you posted a recording. I could never play it properly myself, as my hands are too small.

I like waltzes and I liked yours. I think you played it much too fast, though.

I think a waltz works best when the listener can imagine herself dancing to it in a big gown at an imaginary ball where everyone is a good dancer. So the tempo should be "danceable, in a fairy tale", i.e. maybe half or two-thirds your speed.

BrainCramp

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#2294467 - 06/24/14 06:32 PM Re: Waltz in B flat [Re: Polyphonist]
Polyphonist Offline
7000 Post Club Member

Registered: 03/03/13
Posts: 7512
Loc: New York City
I didn't play it, it was the MIDI rendition. And not all waltzes have to be slow.
_________________________
Regards,

Polyphonist

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