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 Post subject: Re: Composer Audition - Three Preludes
PostPosted: Thu Sep 15, 2011 3:07 pm 
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Please see the new announcement in the Announcements forum. :)

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 Post subject: Re: Composer Audition - Three Preludes
PostPosted: Thu Sep 15, 2011 3:30 pm 
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Joined: Sat Sep 06, 2008 3:07 pm
Posts: 692
Location: Carbondale, IL
@ Chris

Quote:
I don't think anybody else would want to bother with all of these. But I am cursed with the desire of recordings complete sets...


If recording entire sets is a curse with desire, I say it is a good curse :twisted: !

Quote:
Ok, done that.


I see it thanks, it somehow looks a lot more official, and that was a fast update! I appreciate it, and now will stop giving you orders :lol:

Quote:
Yes we've recently changed things around a bit. I believe Monica is going post a note about that.


@ Monica

I just saw it now, and think it makes a good point. I don't think a composer who composes for piano can be worth his or her salt composing pieces unless he or she has played works by influential composers with some demonstration of skill and understanding of the music. If this analogy is fitting, a novelwriter only matures as a writer when he or she has read stories from authors who have thought about what has come before and have created something new based on that knowledge. Now I am ranting.. but hopefully it makes some sense :roll: 8)

Riley

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 Post subject: Re: Composer Audition - Three Preludes
PostPosted: Thu Oct 13, 2011 9:23 pm 
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Joined: Sun Jan 20, 2008 5:45 pm
Posts: 2815
Location: Germany
Hi Riley,
these are really nice pieces of a good musical substance! I have enjoyed them entirely.
It was also very interesting to follow with the score you have uploaded.
In the first prelude I ask me, why you write c natural (bar 22) and eflat (bar 26) instead of the enharmonic change (german: enharmonische Verwechslung, sorry couldn´t find a translation for that).
What an original idea. It reminds me somehow of steping forward and backward and it has something of filmmusic character in the best sense of that word (one could use that for underling movements of a person).
The second prelude contains nice tunes in the classical or baroque sense of two and four bar phrases, so it is very logical and has a periodical form. I just find it a bit unusual to write bar seven with a repetition sign, normal would be to write the eights bar again, even it´s the same.
The third preludes seems not to be entirely in the score, but I like that idea. It´s in the tradition of a Bach prelude, but uses new and very interesting harmonical progressions in a chromatic sense. Bravo!

I have enjoyed you compositions very much and I appreciate them! Thank you for sharing your little gems.

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 Post subject: Re: Composer Audition - Three Preludes
PostPosted: Fri Oct 14, 2011 3:27 am 
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Joined: Sat Sep 06, 2008 3:07 pm
Posts: 692
Location: Carbondale, IL
Hi Andreas,

Thanks for listening and your detailed response.

About the enharmonic spellings, you aren't the first, Eddy and Scott called me out on them as well. It is an issue with the program I have. My composition professor said it would be better to write a b sharp instead of a c natural, so it's a notation issue I am still trying to work on :oops: .

About the first piece being like film music this is a high compliment! I am a studying filmmaking in college (though in the future I yearn to score music for movies not make movie) so this is a special observation, thanks.

About the 2nd and 3rd yes the repeat is not really necessary and I am told the ending is just about as queer as a clockwork orange :cry: I spent days and hours on it and I'm still not totally happy with it, such is the life of a composer. Just as a side topic I wonder how long it took Mr. Strueff to write his Intermezzo suite.

Glad you were able to enjoy them,

~Riley

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 Post subject: Re: Composer Audition - Three Preludes
PostPosted: Fri Oct 14, 2011 12:06 pm 
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Joined: Sun Jan 20, 2008 5:45 pm
Posts: 2815
Location: Germany
Pianoman342 wrote:
Quote:
About the enharmonic spellings, you aren't the first, Eddy and Scott called me out on them as well. It is an issue with the program I have. My composition professor said it would be better to write a b sharp instead of a c natural, so it's a notation issue I am still trying to work on :oops: .


Of course, it´s just a notation issue, but also one of tonal logic. I personally use Finale and with this program it´s very easy: you can change a note into its enharmonic spelling just with one key.

Quote:
About the first piece being like film music this is a high compliment! I am a studying filmmaking in college (though in the future I yearn to score music for movies not make movie)


Does that mean you will also compose music for movies? I have a talented former pupil, Patrik Pietschmann (also a member of this site, btw), who is really good in composing filmmusic.

Quote:
About the 2nd and 3rd yes the repeat is not really necessary and I am told the ending is just about as queer as a clockwork orange :cry: I spent days and hours on it and I'm still not totally happy with it, such is the life of a composer.


I personally refered also here only on the notation issue, it´s just unusual to write the double points instead of to write out that bar twice.

Quote:
Just as a side topic I wonder how long it took Mr. Strueff to write his Intermezzo suite.


I think, he wrote his basic ideas in one move, but than edited details here and there sometimes for a longer time.

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