Prelude №13

Composition completed on 05/12/2015

You also can watch this piece here - 
 

Your works are impressive. Nicely written. I love this kind of music, the march here is beautiful and serious.

I respect the taste of every composer, and I think you feel comfortable in this post-romantic language. However I'm always looking for different harmonies or systems, or whatever in contemporary composers. Anyway, I'll keep on listening to your music.

I love your writing, it feels very consistent throughout.

On 8/16/2019 at 3:40 AM, Luis Hernández said:

Your works are impressive. Nicely written. I love this kind of music, the march here is beautiful and serious.

⬆️Couldn't agree more.⬆️

Very good work.

On 10/26/2019 at 9:41 PM, Jean Szulc said:

I love your writing, it feels very consistent throughout.

⬆️Couldn't agree more.⬆️

Very good work.

 

Thanks a lot!!!

Hello CyberPianist,

I could not resist writing something about your piece. Foremost, I was very impressed by the wonderful chords you are using in your marche funèbre! There is a great potential for the things you are doing, and your talent is obvious to me. Admirable!

But I have some critical remarks and suggestions as well (Please note that these are strictly my personal viewpoints),

I was puzzled by the high speed beginning and the end of the prelude. What did you want to say with this? Personally, I would not be inclined to combine such fast sections with a marche funèbre (which is the core of your piece). After all, a marche funèbre is something about mourning, a deep feeling of loss and a remembrance.

About the marche funèbre itself: The r.h. chords together with the l.h. bass octaves/chords are wonderful harmonies. The tempo and the rhythm is excellent and some of the short term harmonic progressions are excellent, good or OK. But when I listened again and again to the march, I got a feeling that there was somehow a lack of coherence. I actually think that the problem is a lack of a coherent melody. When I say melody, I do not only mean a single voice line, but also a melodic-harmonic chord progression. As an example, I am thinking of the marche funèbre of Beethoven (in sonata nr. 12). It has a very simple melody but the harmonic chord progression is the salient feature for the drama of this march (the same is true for Chopin´s march funèbre).

Another thing I did not understand. Why did you simplify bar 44 and 45 by skipping the chords? Was the meaning of this to create a transition to the fast ending? Musically, for me it did not really make much sense.  

BUT! You have the right tools in your march. With another harmonic/melodic progression structure of your chords, I believe that you could actually create a masterpiece!

1 hour ago, panta rei said:

Hello CyberPianist,

 

I could not resist writing something about your piece. Foremost, I was very impressed by the wonderful chords you are using in your marche funèbre! There is a great potential for the things you are doing, and your talent is obvious to me. Admirable!

 

But I have some critical remarks and suggestions as well (Please note that these are strictly my personal viewpoints),

 

I was puzzled by the high speed beginning and the end of the prelude. What did you want to say with this? Personally, I would not be inclined to combine such fast sections with a marche funèbre (which is the core of your piece). After all, a marche funèbre is something about mourning, a deep feeling of loss and a remembrance.

 

About the marche funèbre itself: The r.h. chords together with the l.h. bass octaves/chords are wonderful harmonies. The tempo and the rhythm is excellent and some of the short term harmonic progressions are excellent, good or OK. But when I listened again and again to the march, I got a feeling that there was somehow a lack of coherence. I actually think that the problem is a lack of a coherent melody. When I say melody, I do not only mean a single voice line, but also a melodic-harmonic chord progression. As an example, I am thinking of the marche funèbre of Beethoven (in sonata nr. 12). It has a very simple melody but the harmonic chord progression is the salient feature for the drama of this march (the same is true for Chopin´s march funèbre).

 

Another thing I did not understand. Why did you simplify bar 44 and 45 by skipping the chords? Was the meaning of this to create a transition to the fast ending? Musically, for me it did not really make much sense.  

 

BUT! You have the right tools in your march. With another harmonic/melodic progression structure of your chords, I believe that you could actually create a masterpiece!

 

 

 

 

 

 

Hello! Firstly I'm really grateful for your such an detailed comment and your some critical remarks, too! It gives me an a great opportunity to say more about this piece based on your remarks.

This high speed beginning I can explain this by the fact that it is precisely this that is the reason for the funebre march. funebre marches are often associated with consequence of war (in this case, it is exactly so)...And this piece ends in the same way that in spite of any losses and disasters people continue to fight with each other. This is the core of this prelude. Despair and misunderstanding, the inability of people to negotiate with each other. Willingness to make any sacrifices if only to remain right. Rightness is the biggest and most harmful drug that everyone actually possesses, but for some reason everyone wants his truth to be better than the other.

As for the melody of the march, or rather its lack, I want to say that the march is for me here as a recitative, as an appeal / revelation to the listener. It is divided into phrases, they have their own dramaturgy. And when the words end and the world can no longer withstand the pressure and onslaught - again all overwhelmed by the same war, selfishness, the road to nowhere.

About 44 and 45: I just needed to free up space for the impending contrast, but at the same time not only stay the tension, but also strengthen it. Therefore, I removed the harmony and left the gap between the recitative and the impending end.

And thanks again for your support and this comment!