vaelrix

I liked it a lot. Sounds like a good scherzo of sorts. Put into form, I think it would make an excellent solo piece.

First of all, I keep a sketch notebook (and boy, when I found out Beethoven did the same thing... it was awesome knowing that). Most of the time, I compose simple melodies or melodic figures, always at the piano. Then I write it down before I forget. And there they still sit in the notebook just waiting... Anyways I come back to them every once in a while, and play around with them on the piano, searching for possibilities... boom I find one (or some) rush to the computer and sequence. Usually the rest of the composing takes place at the computer, and I usually surprise myself at how much more I compose with a mouse than a piano. Of course if I need something fresh to work into the piece, I'll go back to the piano and compose something real quick (since I already know what I'm kinda looking for). Go back to the computer, stick it in... Anyways, this process pretty much shows why almost all of my pieces are piano solos. However I am working on others... namely a symphony and an electric guitar concerto. The main themes for both of them were composed in the same way as stated above. In one case, I used a technique that I probably reinvented the wheel on. I made a rhythmic figure, then put notes to the beats, which in turn became a melody. And actually a very nice melody, though I haven't used it yet. Anyone done something similar to that?

Well duh... play Chopin's 2nd Ballade and they would love you. It has what the 4th doesn't: beauty that everyone can appreciate. Anyways, I don't care what Beethoven thought which was the right version. I think the standard version, the one everyone plays, is uber better than this. I'm not at all for that "do what the composer intended" crap, unless the composer expressly said that or is still alive.

I don't know about everyone else, but the only time I give a blowjob is when my piano is dusty and I'm too lazy to use a duster or rag. But other than that, ask me to play Beethoven's 3rd concerto, and I'll "do" it. Let me warn you it can get a bit messy though. Especially the parts with the rough fingering.

Even before I saw the the last few posts I was going for Holst's Jupiter. That's pretty much the only piece that I revel in... I enjoy other pieces but I revel in this one. It's a whole new level.

Very nicely done. Like the others, I usually don't like atonal music either... So when I see that there's no real melody (I apologize if there's supposed to be, but it's all notes to me) my mind immediately searches for other aspects: rhythm, interplay, emotions, pleasant complexities... all of which I find in this piece. It looks playable to me according to my skill level. I haven't tried it yet, but looks like it would fun/challenging. I'll print it and try it out. It's a shame I have absolutely nothing to record with... maybe I could borrow someone's camera with video. Of course I would never put a recording up without your permission. Would you mind (if I ever got the chance) if I did my own interpretation of it? Such as adjusting tempo, dynamics, basically subtleties... Anyways, again it's very rare I like a piece like this, so it's definitely fantastic. Makes me wanna see what other stuff you have up your sleeve. :thumbsup:

I accidentally wrote two replies to what you said... my bad. I wasn't trying to sound mad or anything. Oh well. But actually yes I have sent them in to copyright, they just haven't been confirmed yet.

Ok, Ljoekelsoey. You record it the way you suggested, with the notes moved over. You put my full name (Daniel Vallery) and you state that the piece (put this too, A Simple Thank You: Pappaw's Song) is slightly modified from the original. You do that, and you can post it on YouTube. To the others, thank you. Aaron, I'll try to check out your suite tomorrow... i'm in a little rush now, but i'll admit an asylum suite is a VERY original and interesting idea.

of course... if you don't credit me i could sue you, but that's not gonna happen, right? lol

Okay how about this Ljoekelsoey: you play it with your suggestion, moving the 4ths onto the 2nd 4th and 6th beats. You record it, but if you put it on youtube, you be sure to put my full name somewhere on it ("Daniel Vallery") and make it obvious that it's a slightly modified version, somehow, either giving the video a little title screen or just in the "About this video" section. that's a go ahead from me.

And I'm flattered and grateful that you would take the time to learn one of my pieces... If you have any means of recording your playing, could I hear it?

lol I just ran to my piano just to double check... I actually don't find the part you mentioned more difficult than the way you suggested, just different. Do you have small hands? That might be the problem, my teacher told me I have Rachmaninoff (big) hands. The way I see it, the fourth's are actually a separate melody line from the broken octaves. If you isolated them and played them as 8th notes with the accompaniment, you would see what I mean. Well, I just spent several minutes considering possibilities for a possible ossia... I've tried: what you suggested; all the notes as 8th note chords; cutting out the melody line that I mentioned; cutting out the bottom notes of the broken octaves; even cutting out the octaves and making the hidden melody line broken octaves itself. Ok, final decision made, if I had to (or will) write an ossia for that part, it would be like this. Tell me how that sounds, feels, and if it's easier for you. Song1.pdf

I'm 17, a senior, and I started learning piano at 12 or 13. I'm mostly self taught (and thus can be much better than I am now), but now I have a professional teacher, John Hendrickson. I started composing a few months after I started piano. Composing-wise, I have had NO instruction or help whatsoever, except for repertoire that I have gotten to know over the years, from Beethoven to Chopin to Ravel to Whoever... I wanna be a professional pianist despite the competition that I'll face... and eventually become a orchestral conductor, of course with composing on the side.

First of all, a composer should never be satisfied when he/she believes that their own piece sounds bland, even the slightest bit. I think that the melody is beautiful, but the accompaniment simply doesn't give it justice. Possibilities: make the left hand broken, maybe 8th notes or triplets. But if you decidedly want the quarter note rhythm, maybe you should use slightly more complex chords, maybe a min7, min9, or a maj7 here and there, as long as you don't saturate the piece with them. Also, what I like to do is add subtle harmony in the left hand, where the top notes harmonize with the melody. From what I see, the top notes so far are almost all b's, a's, or c's. Making those notes a harmony line in itself can really make a big difference. Finally, at the end you ended on a Em chord with a B for the bass note... no feeling of finality there, it leaves the listener with a longing for something more, but that they can't get since the song is finished. I know I haven't referred to the middle section at all, but that's just because I don't have any ideas about it yet (that's not saying it doesn't need work of course). Anyways aside from all that, I think it has the potential of being a gorgeous piece, and I really love the little Chopin-istic chromatic runs on the 2nd repetition of the theme. Keep it up!:thumbsup:

Thank you. It is supposed to be a virtuostic piece, although not overly hard. And I believe I've had two statements that my pieces will destroy hands so far... that shows they're for the pros.