- 196
- 4
This score appears in
- Concerto #1 (set)
Info
| Uploaded | Jul 9, 2011 |
|---|---|
| Pages | 37 |
| Duration | 7:47 |
| Measures | 200 |
| Key signature | natural |
| Parts | 18 |
| Part names |
|
| License | All rights reserved |
| Privacy | Everyone can see this score |
| Uploaded | Jul 9, 2011 |
|---|---|
| Pages | 37 |
| Duration | 7:47 |
| Measures | 200 |
| Key signature | natural |
| Parts | 18 |
| Part names |
|
| License | All rights reserved |
| Privacy | Everyone can see this score |
Comments (4)
Sorry you felt you had to defend youself. It was just a thought, it's hard to be objective about something you write, it's very personal. I try to keep my mind open and write nothing in stone, works for me, maybe not for you. I don't listen to much on musescore but I try to
listen to your music because I find it interesting. Please don't be offended. Daniel
Oh, I didn't feel offended! All constructive comments are welcome ; but this concerto is not a really serious thing and I don't want to make it perfect... A sort of a big musical joke.
Interesting, thought from about 5 min mark on was better that the first part, I know it's a killer after you have so much time and energy in something, but you may want to start from that point. Always interesting to hear your stuff. Danie Gray
Hmmm... no, I won't change it. In fact the main first theme (from meas. 9 to 20) - I mean the piano part - was one of the first thing I composed when I was still a child (maybe 12? before? I don't remember exactly when...) : it's naturally a very simple and "naïve" theme (I don't know if this word exists in english?), but the idea was to give it a new meaning... Going to dodecaphonism in the end : the 12-tone series first appears on meas. 76 - look at the left hand, then it becomes more and more present to the ear in other places, like in this part you speak about after 5 min. The different episodes may seem like jigsaw pieces not really fitting each other, but there's still a logical direction. I won't change the order or remove one. See it as a sort of written improvisation.
(And the second movement too follows that idea of tension beteen contrasted episodes : a boring - classical, tonal, heavy - theme is regularily broken by sudden ideas of a whole other form...)