Op5 Nr7 my new microtonal piece

hello everyone, this is my new piece, hope you like it!

the video: 【微分音钢琴】作品5之7 无标题_哔哩哔哩_bilibili

Dear @cloud10000,

I think this piece is quite a technically demanding piece, lots of running, appreggios

I think the section in b.56 and b.217 are quite in a popular approach with the circle of fifths. They do give a contrast without the microtonals.

The retransition to b.88 is too quick for me. There's not even a dominant chord preparing for the return of the tonic C minor.

In b.113-133 there's a tremolo marking for the left hand. I've never seen a piano piece having tremolo marking, I think it's normally written for strings and winds flutter tongue. Maybe writing out the notes will be better. But with the left hand playing, b.120-123 and b.131-133 will be quite unplayable with this intended speed. The octaves in b. 148 to 150 will also be way too fast to be played.

In b.231 the right hand spellings should be F sharp and E natural instead of Gb and Fb since it's in G minor. In b.62 and b. 223also for the left and right hand with the same context.

The use of microtones is interesting here. But I would like to know is it possible to play this on a real piano, since even though you can change some notes to a microtone beforehand, you cannot immediately change it back to a normal tone when playing.

Thanks for sharing!

Henry

I have no idea if this can be played on a piano prepared for this microtonal system. Just because, as @Henry Ng Tsz Kiu said before, there are some passages that seems quite difficult.

The consistency of the piece is remarkable. Sometimes I have mixed feelings because the tonal sound is there. Other times I can clearly perceive the microtones. In all, I think is a very good project. I would prefer less "piano fireworks".

You never disappoint with these pieces.

Your approach to microtonality on the few pieces I have listened from you is very enjoyable. As I have mentioned in other occasions I am not a fan of this style, but I would lie if I said your pieces were not of my liking (at least the ones that I have listened to), and this —I believe— is because you use microtonality without forgetting about the structure of the piece and while maintaining a strong bond with the tonal system which make these pieces dwell in a more "naturally" crafted extension of tonality than some other pieces in which heavy detuned instruments, impossible chords, abundant random noise, etcetera, dominate the entire piece for minutes that seem honestly endless in my mind.

So congratulations again! That said, I do think that the last piece you published here was even more of my taste.

Kind regards,
Daniel–Ømicrón.