Leaderboard

Hi, The third movement is in progress, but the first two are finished 🙂 Movt. 1 - https://musescore.com/user/37307285/scores/6796148 Movt. 2 - https://musescore.com/user/37307285/scores/6830305

These are brilliant. What a great idea for a new form. They are almost musical doodles but I can hear the more deliberate thought you've put into them. I might try the idea myself. I really like no.4 its simple but effective and would be fun to play.

Thanks, CyberPianist. I tend to agree with you about the 3rd piece. I actually wrote that one first, after decades of avoiding solo piano music! I'm also glad people seem to be enjoying the 2nd piece, because that one took me far longer to write than the others. That one is obviously more melodic than the others, and it took a few revisions to get the piano to "sing" in a way I was satisfied with. I think I've been spoiled by writing for voices.

Hi, Maybe I am missing something here; however,I really had some difficulty following the thematic line and harmony in this work. To me it wanders about. It could use some high and low points and obvious resolutions as illustrated by the ending.

A lot of country and folk bands from the 80s and 90s never really followed a lot of the production trends of their era. I kinda like that because it makes the music difficult to date. For example: This song came out nearly 30 years ago, but sounds like it could've come out yesterday. AC/DC are the masters of this. They always sound "like AC/DC". They have never sounded like a particular decade because they just write rock music and don't follow whatever is trendy. This is even older than the Garth Brooks' song, but doesn't feel "old" either

The music has a slight "Yiddish" eastern European flavor to it .... and yes I am an Oboist. The Oboist in the video played quite nicely too!

I have a thing for Coldplay, especially the "A Rush of Blood to the Head"-album. Never get tired of it!

Every mother should have there own serenades!!!! This is beautiful!

Sorry if this was a rhetorical question; I'm gonna answer it anyway since it's something I would have wanted to know as a "young" composer! Basically, because John Williams is awesome! I think a lot of it also comes down to recurring intervals and motives (that little lower-neighbour, almost-Dies-Irae thing is everywhere, most measures seem to start with a descending semitone, and the vast majority of intervals are either semitones or minor 3rds, especially early on). To my ear, it also seems like there are also lots of octatonic sets (maybe he switches between them by common tone? Not really sure.) A lot of it comes down to repeating and transposing short, simple, almost-tonal fragments in unexpected-but-consistent ways. I think having a fairly simple rhythmic profile and discrete phrases also helps--there are still lots of patterns for the ear to latch onto, even if they're not as obvious as Mozart. I'm personally reminded a lot of Bartok by the first half of this piece, but maybe that's just me.

Very well written, played, and animated! You pack a lot of harmonic complexity into these short pieces, without ever overwhelming the listener. I felt like the 3rd one was the most harmonically adventurous, especially at the beginning. You go pretty far afield without losing any sense of tonal focus. I think your good sense of phrase structure and tension/release enables you to do this: the music is always pushing forward toward a cadence, even if we don't really know where that cadence is going to be. I don't really have any criticisms, since these pieces are short and do what they're intended to do very well--and you wrote these years ago, so maybe you're already doing things differently now anyway. Was that really animated by AI? It's amazing how well the performer's fingers and movements match the audio.

Hey thank you! Indeed I do. I will include it below in case you want to take a look at it. The piano is just for guide since I did it for piano before orchestration. Nicola for orchestra.pdf | DocDroid

Don't take it seriously. At 2:15 the low notes sound pretty good. At 2:25.., they seem a bit heavy. But it's just a matter of taste, and expression, and probably the way you mixed it. By the way, I'd love to know hoy other people mix classical piano solo. It's not as easy as it seems..-

Very mature in form music. The atmosphere reminds me most of the work of Olivier Messiaen. I liked the first two pieces best. Especially the first one. The last one, in my subjective opinion, lacked contrasts. It sounded fast, excited, but the material was rather monotonous for me and almost didn't develop in any way. That is, in your first two musical pictures there were a lot of small interesting details, but in the last one I either did not see, or really did not have enough of what was rich in the previous two pieces. Thank you for sharing your works!

Hi, This Lynmore. I'm a new member of this site. I would like to add myself to this forum discussion.

First of all, thank you @Ivan1791 @PaperComposer and @Eickso for taking the time to comment this piece. This is so meaningful and helpful for a composer to receive feedbacks and advice, I appreciate that. @Eickso : I'm very glad you managed to listen to the entire piece, I know it can be scary when such a large composition is in front of you. As far as the lenght of this movement is concerned, I think exactly like you for other compositions. I often compose piano piece that don't exceed 5 minutes because I feel I expressed what I had to say, and it's no need to compose more. But this is a piano concerto and not only I had there A LOT of ideas and themes to express and expose but also I had to respect the sonata form for such a composition. I think I'll write another comment to give the structure of the movement because I know that it can appear too long and with no logic ! In the past, I've already composed such movements that didn't exceed 9 minutes and it was right because it was in a classical style (such as Mozart's or Haydn's concertos). But there I feel I had to go further and I can assure you I wasn't in the "just keep going" mentality you mentionned before (although I know exactly what you mean and I respect your opinion about it because I know some young composers that composed ~30 minutes long movement !!). In other words, I know that it can seem long but actually, it's not that long for a romantic piano concerto ! Chopin, Brahms, Tchaikovsky and others did much longer. Furthermore, I already know that the 2 next movements won't be that long as they only be a slow movement and a rondo. When it comes to the Rachmaninoff's similarities, I can tell you I wasn't inspired at all by his 2nd concerto (neither in the form nor the themes...). In my opinion, as Rach is one of my fav, his music is so IN me that some similarities are reflected in my music. I take your remark well because it's always a compliment to hear that this concerto could be a Rach ! In fact this is the inconvenience of being a young composer, I might know the music rules and theorie but my style is still evolving and your mind see a Rachmaninoff where it's a Camille ahah ! By the way, I'll listen to the composition you mentioned, and it would be a pleasure to penpal you, I could give you my Instagram to talk ahah ! @PaperComposer : Thanks for your comment ! You did well to listen again without the score. It allows, I think, to be more focused on the melody and the logic behind the movement. I know it can be dreadful for some composers to put arpeggios because it's the easiest way for the piano to accompany the orchestra, but I always thought that arpeggios had their place in a concerto at certain times. I find it beautiful and helpful for the pianist because it's, in a way, relaxing and a break before going on a melody. At 7:02, these octaves-arpeggios are based on the motif of the first subject. At that very moment the music reaches a climax that allowed me to put octaves (you're right, it's time to the soloist to shine !! Octaves are a great way to highlight virtuosity in piano concerto, especially with a speed that high). The flute melody after the real cadenza is a reminiscence of the first subject of the B theme (the slow one). It permits a good transition to the closing episode of the development with a statement of the second theme (follow by the reexposition). If this reminds you Rachmaninoff, this wasn't on purpose. As I said before, I'll do a description of the design of the movement ! 🙂 Thanks again for listening, I'm glad you appreciated the music. @Ivan1791 I am, too, really happy that people are getting more and more attracted again by tonal music. I'm so pleased you think it's a good piano concerto. Thanks for your support!