Toccata II

First one in a year, probably much more human than the first toccata I did. Kind of testing the range of a piano...

(dont know how to make melody lines stand out without using accents, sorry about that if you find it a bit noisy and clumsy from bar 33-48 and the triplets)

I may take a more in depth look at this later but a few things I notice right off the bat:

In the beginning, I wouldn't keep the beat to such a quarter note. It looks better in a reduced time signature or faster tempo.
m. 13 has some really hard thirds work; so hard it might be the hardest thing in the piece... maybe find a better way of doing this?
m. 32 and all measures like it need cross staff voicing. Much easier to read.
m. 129: keep the whole measure for the right hand 8va. 
m. 130: just to make it easier, I would have the last note not be oblique to the Eb in the previous measure (aka change the note, don't repeat the top note in the A-flat major triad), but there's nothing really wrong with it. It's just awkward.

Cheers!

Hi. In general terms I like it.

I guess the Toccata is a sort of free form, but there are many many ideas in your work...

Sometimes I prefer not so long "quick" parts. Writing virtuoso parts are not as easy as to make the piece go quicker. Well, that's my taste, no more.

In the last part there are some "impossible" chords, unless you make use of the arpeggio, but in that case, the sound would be different. Some of these chords in very short notes, take a look:

Perhaps I worry too much thinking if something is possible to play or not... (by humans, of course).

I accept using arpeggio in the chords you pointed out (in the last few bars and the ostinato appeared in the Andante part). Especially in the chord you showed here with the fermata, use of arpeggio is prefered (it is a bit cramped if all notes played at once). Thanks for the comment. [For the software to generate a recording, I have no choice but to assign a tempo to it. Originally the parts I set quarter note = 56, they are a bit free in tempo, anyway nice comment on the chords]

19 minutes ago, Monarcheon said:

I may take a more in depth look at this later but a few things I notice right off the bat:

In the beginning, I wouldn't keep the beat to such a quarter note. It looks better in a reduced time signature or faster tempo.
m. 13 has some really hard thirds work; so hard it might be the hardest thing in the piece... maybe find a better way of doing this?
m. 32 and all measures like it need cross staff voicing. Much easier to read.
m. 129: keep the whole measure for the right hand 8va. 
m. 130: just to make it easier, I would have the last note not be oblique to the Eb in the previous measure (aka change the note, don't repeat the top note in the A-flat major triad), but there's nothing really wrong with it. It's just awkward.

Cheers!

 

I think I will keep the 3rds in bar 13 otherwise there will be a sudden change to the sounding between bar 12 and 13, but the speed in the beginning is actually free, so pianist can do the accelerando in the way that is comfortable to them.

I don't know how to use Finale to spread 2 lines to 3 lines then back to 2 lines, so about the use of cross staff voicing, I am sorry about that but I can't fix it.

You are right about bar 129 and 130.