I'm completely speechless after that!! Oh, la vache! This is very intense and masterfully done. The title is very intriguing: What does it mean?
My congratulations on a fantastic piece.
My Music Site
Pour être grand, il faut avoir été petit.
A very well concieved piece, David. I enjoyed it a lot. The woodwind parts sound difficult. You really put them to the task! The piano solo is fantastic what a great set of hands you must have! Thanks so much for sharing this with us.
[Music is the Rhythm, Harmony and Breath of Life]
"Music is music, and a note's a note" - Louis 'Satchmo' Armstrong
Nice work, Dave!
I have no idea what this composition means, but maybe before I croak an understanding of this form of sound will penetrate my thick skull and I will "see the light". Maybe...
Larry G. Alexander
Very good and well worth the listen. Very nice piano lines. Great form. Well done Dave.
Nice work as usual. I finally took some time to view your scores and I have a few points to consider.
Your scores are curiously devoid of articulation marks, including some places where a slur or bowing indication is almost implied by the line. I.e. fast woodwind flourishes, the strings at the end of "Providence" have fast approach notes in octaves (non divisi) and detache bowing. Although the tempo is slow and dynamic is very loud it still may have some sloppiness on the faster notes. Do you want them to really dig into the notes or to play more smoothly? Interested in your experiences with player interpretation of these items.
Tremolo is always marked with lines through the stems and there is no "arco" needed to cancel it. Tremolo bowing is arco. Sometimes you mark passages with text and other places you mark it "correctly" and still others you use both. The inconsistencey could be confusing.
slur/breath/bow marks include all tied notes. Beginning and ending notes included. "Providence" measures 37-38, the G in m. 38 Vlns 1 should also fall under the bow mark. This is a frequently missed marking by composers.
"Rosa Parks" has several triple-stops in the strings at very soft dynamics. Do you want divisi here?
Guess I'm mostly curious why the dynamics are painstakingly marked (which I think is crucial, especially in expressive music like yours) and the other performing indicators aren't. It seems the intentions your wonderful music is missing in the written scores. Just an observation. I like your compositions very much, though.
Thank you, Louis!Originally Posted by LouisD
I guess you might consider this a case of the Devil hisself duking it out in a philosphical disputation with the venerable Mahatma Gandhi... lol.
Thanks for stopping by for a listen, Richard, and for the good word!Originally Posted by RichR
Richard, I had in the back of my head Jazz musicians, more accustomed to some of the idiomatic and, yes, sometimes quite difficult strokes in this piece... so I did give the players a work-out in places.
As for my hands, I haven't really played but rarely in fifteen years or so -- but on a rare good day with a few hundred takes... lol -- they still do somewhat work.
Thanks for the listen, Larry. As for the general background of the piece, see above -- but this really isn't an easy piece to "hear", I most readily admit. With your deep love of and commitment to more Classical idioms, I shall count the piece a success if it did not send you diving for cover with your fingers in your ears, my friend... lol.Originally Posted by Larry G. Alexander
Thanks for taking time to listen, Paul, I appreciate the comments on the piano work and form... the pianist does get just a bit of exercise toward the end of the piece, eh?Originally Posted by PaulR