entrifis Posted January 23, 2022 Posted January 23, 2022 (edited) Hi everyone, I would love to know if this piece works for your ears - it's the first time I focused more on the rhythmical element rather than the development of the the theme and harmony, and not sure what is the effect on fresh ears. Thank you. Youtube Video - Gula Edited January 23, 2022 by entrifis Trying to insert youtube video Quote
PeterthePapercomPoser Posted January 27, 2022 Posted January 27, 2022 A very ferocious and energetic piece well suited to depicting the voraciousness of gluttony. Well done! I wish you had provided a score so I could look in more detail at what you did. The snippets that you see in the YouTube video don't really cut it. The piece is very motivic and seems to germinate organically from the first few timid fragments. I do see what you mean about the piece being more focused on the rhythmic aspect - it is kept fresh by the liberal sprinkling of 5/8 bars throughout. Although I do wish I could look at the score to also better understand the harmony. Thanks for sharing and I would greatly appreciate it if you posted a score! Quote
Tom Statler Posted January 30, 2022 Posted January 30, 2022 This is good stuff! Captures the manic and obsessive aspect of gluttony very effectively. A few thoughts: 1. Why the little bits of piano solo? Other instruments aren't being similarly highlighted, it doesn't seem like piece is a piano concerto or any such thing. (And I don't really see the piano as a "gluttonous" instrument, but maybe that's because I'm not playing it right.) 2. The glissandos kind of work... if you had a human orchestra, would you be telling the players to play a real slide rather than a fingered gliss? Even if (or ESPECIALLY if) this distorted the tone, I think it would be a good addition. 3. Love the transition at 1:29. 4. At 1:55, I'd push the low brass more. Let 'em growl. (And I also listened to your "Sloth" movement. The major-minor ambiguity captured the self-satisfied aspect of sloth nicely. Nice work!) Quote
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