Tarantella /in F minor)

I started an outline for a short piece (a Tarantella) several years ago, but I never finished it. So I decided to finish it now. It is written in 6(8 (as usual for Tarantella´s) but I also considered a 2/4-th meter. What is your opinion?

I would appreciate your feedback.

I wish everyone a nice Easter!

Hi Johan,

28 minutes ago, panta rei said:

It is written in 6(8 (as usual for Tarantella´s) but I also considered a 2/4-th meter. What is your opinion?

Ofc I would love to have it in 6/8 metre. Even with a 2/4 metre triplets are still required to be used!

The opening theme is quite similar to the Michael Aaron one:

I think of this because I'm teaching one of my student this piece haha!

Schubert loves using Tarantella! I think you capture the light heartedness very well here! But... tarantella is freakingly difficult ti play as in his D.958 finale... Here I think it's quite difficult too!

The retransition from Bb major to A minor is great and unexpected! In A minor it gives more the feeling of the Michael Aaron piece. That chord in b.103-104 is amazing! I use the exact same chord progression in my second sonata haha!

Happy Easter and thanks for sharing! I enjoy this short piece very much!

Henry

3 hours ago, Henry Ng Tsz Kiu said:

The opening theme is quite similar to the Michael Aaron one:

 

 

Thank you Henry for your quick response.

Yes, I agree  that the theme in the beginning (and also in recurring parts) is practically identical to the piece of Michael Aaron. I should say that this was totally unintentional. In fact, I was rather inspired by the famous “la Danza” by Rossini. But somehow, I must have had the Michael Aaron piece in my head, probably from someone playing it in the past, and I must have forgotten where it came from. Nevertheless, it is not acceptable for me. It might even mean a breach of copyright, although I never would use this piece for any commercial purpose.

I will do the following:

1) I will rewrite the part, which resembles the Tarantella of Michael Aaron. I think that this will be reasonably straightforward (but also an interesting challenge)

2) I will remove the copyright statement on the bottom of the first page of the score.

3) Additionally, If there are any  serious complaints, I will remove the piece altogether.

Nevertheless, I am glad that you enjoyed the piece.  I think that there are a number of fine transitions, including the one in b. 103-104, and some Neapolitan stuff ( check for example b 58-60).

Is it difficult to play? You bet! Like the Schubert one. But also many other Tarantella´s are not easy to play, including the “presto con fuoco of the Beethoven sonata nr 18). It is something for the advanced pianist.

Henry, thanks a lot for your review! Have a nice Easter

On 4/7/2023 at 7:33 PM, panta rei said:

Thank you Henry for your quick response.

 

Yes, I agree  that the theme in the beginning (and also in recurring parts) is practically identical to the piece of Michael Aaron. I should say that this was totally unintentional. In fact, I was rather inspired by the famous “la Danza” by Rossini. But somehow, I must have had the Michael Aaron piece in my head, probably from someone playing it in the past, and I must have forgotten where it came from. Nevertheless, it is not acceptable for me. It might even mean a breach of copyright, although I never would use this piece for any commercial purpose.

 

 

 

 

 

 

 

 

 

 

 

 

Hello Henry,

I have now made a number of changes in the piece. I replaced the score and the sound file. I think that it is not so similar anumore to the Michael Aaron piece, and  I hope that  you can agree with me.  It was a bit of a chock for me to find out that the beginning of my piece was almost a copy of his piece.

It was a bit of work, but it went much faster than I expected.

Than you very much again for pointing out this issue !!

Best regards,

Johan

Hi Johan,

On 4/10/2023 at 1:16 AM, panta rei said:

I have now made a number of changes in the piece. I replaced the score and the sound file. I think that it is not so similar anumore to the Michael Aaron piece, and  I hope that  you can agree with me.  It was a bit of a chock for me to find out that the beginning of my piece was almost a copy of his piece.

It was a bit of work, but it went much faster than I expected.

Yup this is not similar to the Michael Aaron piece anymore and I particularly like that Schubertian acciaccatura of b.3! It's for sure good modification which doesn't affect the overall mood and structure of the piece! I am always shocked to find my materials come from somewhere since I often unconsciously use musical materials I heard of in my own pieces without noticing them! 

Henry

Well, now this song is stuck in my head.

Another successful work, @panta rei! You are so gifted at writing tight harmonies and charming melodies. This tarantella of yours is simply amazing! I love the lightness of it, and it is such fun to play.

Keep it up!
Jörfi

I think your original piece, despite being similar to the Micheal Aaron piece, was much better extended and developed than his.  And now that you've made your changes to make it unique, it offers, in my opinion a special and quirky listening experience that is altogether different from the other piece.  Some of the harmonic gymnastics in it however, to me felt contrived and unnecessary.  I don't think you should force the piece to return to the home key at the end.  You could use venturing into remote keys as an occasion for the presentation of new themes or transitional material imo.  I also, quite often value an ending on an unusual sonority or non-tonic chord.  But that might just be me and might not be compatible with the style you're writing in.  Overall though, I quite enjoyed this piece!  Thanks for sharing.

Tarantellas are one of my personal favourite kinds of pieces, so it's always a treat to discover a new one! Good onya, @panta rei!

Bar 39 can be a bit confusing because I can't see the first quaver rest for each beat.

Otherwise a very enjoyable interlude. I assume the sound file generated here is just an allegro but it's meant to be much faster (like Wieniawski's violin scherzo-tarantelle)?

On 4/14/2023 at 10:18 PM, Tónskáld said:

Well, now this song is stuck in my head.

Another successful work, @panta rei! You are so gifted at writing tight harmonies and charming melodies. This tarantella of yours is simply amazing! I love the lightness of it, and it is such fun to play.

Keep it up!
Jörfi

 

Hello Jörfi,

Sorry for the delay of my response. The last month was a complicated time for me. 

I am really glad that you liked the piece. Thanks for your kind answer.

On 4/16/2023 at 8:35 PM, PeterthePapercomPoser said:

I think your original piece, despite being similar to the Micheal Aaron piece, was much better extended and developed than his.  And now that you've made your changes to make it unique, it offers, in my opinion a special and quirky listening experience that is altogether different from the other piece.  Some of the harmonic gymnastics in it however, to me felt contrived and unnecessary.  I don't think you should force the piece to return to the home key at the end.  You could use venturing into remote keys as an occasion for the presentation of new themes or transitional material imo.  I also, quite often value an ending on an unusual sonority or non-tonic chord.  But that might just be me and might not be compatible with the style you're writing in.  Overall though, I quite enjoyed this piece!  Thanks for sharing.

 

Thank you Peter for your review, and also, I apologize for my late reply. The harmonics are maybe somewhat exaggerated, but that was just me, being a bit in an excited mood. Of course, the ending could have been written in many different ways, but I did not want to make an extension with new themes. I rather wanted to keep it short (perhaps the piece is useful as an “encore”)

On 5/19/2023 at 5:45 PM, Quinn St. Mark said:

Tarantellas are one of my personal favourite kinds of pieces, so it's always a treat to discover a new one! Good onya, @panta rei!

 

Thank you for your comments, Quinn

20 hours ago, PCC said:

Bar 39 can be a bit confusing because I can't see the first quaver rest for each beat.

Otherwise a very enjoyable interlude. I assume the sound file generated here is just an allegro but it's meant to be much faster (like Wieniawski's violin scherzo-tarantelle)?

 

Hello PCC,

I agree with you about bar 39. It looks like an error which I overlooked. The top notes of the first and second dotted quarter chords should be quavers as well. I will change it.

The piece should be played very fast (like most tarantella´s.) I indicated “prestissimo” at the beginning The sound file was set at a b.p.m. of 147 for a dotted quarter note.

Thanks a lot for your comments!

Your score really put a smile on my face, 🙂