malbert.macl

I would consider respelling some of the accidentals... as a structural comment - how about more economy of ideas, or at least introducing these diverse (yet interesting!) ideas more slowly. As a listener, I was forced to choose between which elements I wanted to focus on and pay attention to, instead of appreciating a unified whole. What about listen to the Schubert Octet? :)

No time signature at the beginning...and why the hand written font? The double flats are also a bit strange...

I would enjoy being a part of this, whther it is regional or era-based. Baroque exists in different regions though, remember.....

Black Orpheus: I prefer Matthew, but will accept Matt. You say that the timbral shifts are the most interesting parts of the piece, what do you think I could do to have all the elements of the piece more unified and in equilibrium? Thanks for the suggestion on a goal for the accelerando, I think even a range would be helpful - hadn't even given that one a think! I considered bringing the 32nd notes back, but also considered that the piece had a gradual slowdown as it moves down in rhythms with a certain amount of periodicity. composerorganist: I'm so glad you found that part effective - if anything i found it tedious! Thank you for your suggestion on dynamics for the ending, I think I will definitely consider it for new pieces in the future - that is wise. any comments greatly appreciated. :)

i would definitely be game!!

the first is rather curious - i think it is in the wrong time signature, or is not the most ideal placement of harmonies in relation to meter. the second is indeed most sublime - especially the shifts of key! ashkenazy really rocks it. it seems to me that chopin is really at his best when he is being experimental harmonically.

Do you think you could provide a score?

thank you - i am about to be able to use a desk to do work for the first time in a while, and this might be something useful to place above it :)

This piece is an exploration of an idea that was gleaned from thereading of several essays from Steve Reich's book, "Writings on Music, 1965-2000." As a furthering of Reich's additive harmonic process, I have explored a rhythmic process that is at times additive and subtractive. I have done this by expanding or contracting the duration of consecutive notes by one sixteenth in duration (ranging from a note 8 sixteenth notes in duration to a note 1 sixteenthnote in duration.) Occasionally, this type of rhythmic jest is interjected with a toying of the duration of rests. As far as time signature is concerned, the meter used has been chosen to help the performers coordinate downbeats and is in no way reflective of beat stress hierarchy. The title refers to a line from the Christian Scriptures, from Luke's Gospel: (8: 16, NRSV) "No one after lighting a lamp hides it under a jar, or puts it under a bed, but puts it on a lampstand, so that those who enter may see the light."I hope you enjoy, the pitches are taken from a serious of jazz 9th chord voicings, assigned in a rather arbitrary fashion - the players were sight reading and the percussionist makes a few mistakes - please forgive him. if you make a light do not hide it in a box beneath your bed

baby carrots, and wait to see what happens :)

a composer commented to me that she thought his work has become dated with time - i think it's awfully charming - especially De Staat. I think he is rather golden, and has mentored some rather good, successful composers as a teacher. He is at least a /competent/ composer, as well as a competent pedagogue. My personal take is that he is much more than that, and can move beyond functional harmony in a diatonic way without resorting to pure minimalism, but it is simply my take on the matter.

I would say he is a baritone range, with a big bass sound. Much resonance is needed!

i really adore your harmonic language here, the 2-4-5 pitches work well for my ears. careful of the parallel fifths very low in the bass, they tend to sound very muddy, and they do stand out quite a bit. the only thing i would say is that the key changes are all a bit sudden, i think they would be effective if you started to use shared chords between the two keys 5-6 measures before the key change instead of a direct key change. i hate to sound mean, because i'm not trying to be at /all/ - but it's just a bit juvenile to parade through all the keys like that. you absolutely have the smarts to do so more effectively

To me, Mendelssohn's Preludes and fugues for piano are dismissed all too easily. I know his writing is sloppy and a voice will disappear for periods at a time - but they are still great works!

Gubaidulina's Chaconne!!!