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Topic: Prelude #16 in d minor & Prelude #17 in G Major

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  1. #1
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    Prelude #16 in d minor & Prelude #17 in G Major

    I have 2 preludes ready at this time –

    Prelude #16 in d minor
    Prelude #17 in G Major

    Despite some of the obvious differences (#16 is fast, choppy and lasts less than 40 seconds while #17 is slow, more lyric and lasts just under 2 minutes) these two preludes are closely related.

    Both of these are what Charles Rosen calls in his book “The Romantic Generation” “fragments” – the start as if in the middle of a thought and end before the thought is complete. Many of these preludes are like that, with the intention that they fit together like pieces in a jigsaw puzzle instead of as stand alone works.

    Both of these rely on some chord/key relationships. #16 uses the relationship between the Neapolitan and Dominant (a tritone!) a lot, as well as relationships of the third. #17 adds, and emphasizes, the augmented six chords, in particular the so called “German” or augmented 6-5 and the “French” or augmented 6-4 chords. (Note – the German chord is enharmonically the same as a Dominant based on the chord a major third lower than the tonic, which can be interpreted as the Dominant of the Neapolitan).

    Both have an important part in Ab, a tritone from D and the Neapolitan of G. B is also an important key area in both of these.

    They both have introductions which help show the important relationships.

    The introduction to #17, however, is slightly programic. It has rained most of the last month. It has been wet and cold, occasionally stormy. #17 was originally intended as thoughts of blue skies coming out of the storms, shafts of sun light striking still dripping leaves. Some of the original program was left in, so you may here some of this.

    Anyway, I hope you enjoy this latest addition.

    Here are the preludes to this point. (A little note – remember that I am doing a circle like this (cap=major, lower=minor) – C-a-D-b-E-c#-Gb-eb-Ab-f-Bb-g - Eb-c-F-d-G-e-A-f#-B-g#-Db-bb )

    1 – Prelude in C Major
    2 - Prelude in a minor
    3 – Prelude in D Major
    4 – Prelude in b minor
    5 – Prelude in E Major
    6 - Prelude in c# minor
    7 – Prelude in Gb Major
    8 – Prelude in eb minor
    9 - Prelude in Ab Major
    10 - Prelude in f minor
    11 - Prelude in Bb Major
    12 - Prelude in g minor
    13 – Prelude in Eb Major
    14 – Prelude in c minor
    15 – Prelude in F Major
    16 – Prelude in d minor
    17 – Prelude in G Major



    Note - #s 9, 10, 11, 12, 15, 16 and 17 are rendered with the Authorized Steinway. All others are rendered with the GPO Steinway.
    Trent P. McDonald

  2. #2

    Re: Prelude #16 in d minor & Prelude #17 in G Major

    Trent

    I liked 16 better myself, but then I like fast and loose music. Just like my women.

    These are 2 more fine additions to your ever growing list of Preludes.

    Ron
    "Reality is merely an illusion, albeit a very persistent one." Albert Einstein

    http://composersforum.ning.com/profile/RonaldFerguson

  3. #3

    Re: Prelude #16 in d minor & Prelude #17 in G Major

    #17 is very nice but #16 is my favorite Trent. Well done.
    Producer ~ Sound Engineer ~ Musician

    http://www.myspace.com/451525581

  4. #4

    Re: Prelude #16 in d minor & Prelude #17 in G Major

    Quote Originally Posted by rolifer View Post
    Trent

    I liked 16 better myself, but then I like fast and loose music. Just like my women.



    Ron
    You'll owe me a new monitor if I can't clean this coffee off it.
    Producer ~ Sound Engineer ~ Musician

    http://www.myspace.com/451525581

  5. #5

    Re: Prelude #16 in d minor & Prelude #17 in G Major

    Hi, Trent

    Since the thread has already established a routine of choosing our favorites, I'll jump in too - Between the two new Preludes, I definitely prefer #17.

    #16 was an interesting/kind of fun thing to hear once, but #17 is music I'll gladly hear many times over. It demonstrates a balance of technique and a creative sensibility which is more of a challenge to pull off successfully than something which can sound like random accidents to a listener, no matter how they're justified by theory.

    And that makes them an entertaining pair, since they're so wildly contrasting in moods.

    Quite the project you've continued to work on so studiously. You have so much already, and quite a number to still do to reach your goal--I admire what you're doing.

    Randy

  6. #6
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    Re: Prelude #16 in d minor & Prelude #17 in G Major

    Quote Originally Posted by rolifer View Post
    Trent

    I liked 16 better myself, but then I like fast and loose music. Just like my women.

    These are 2 more fine additions to your ever growing list of Preludes.

    Ron
    I, of course, like women who are steady companions and faithful... is my wife still looking over my shoulder?

    Your music often seems to have a lot going on so I'm not to surprised you'd like something busier.

    Thanks, Ron, for listening and for your comments.
    Trent P. McDonald

  7. #7
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    Re: Prelude #16 in d minor & Prelude #17 in G Major

    Quote Originally Posted by Hippie View Post
    #17 is very nice but #16 is my favorite Trent. Well done.
    Hi Aram. So, another vote for #16.

    Thanks for listening and commenting.
    Trent P. McDonald

  8. #8
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    Re: Prelude #16 in d minor & Prelude #17 in G Major

    Quote Originally Posted by rbowser- View Post
    Hi, Trent

    Since the thread has already established a routine of choosing our favorites, I'll jump in too - Between the two new Preludes, I definitely prefer #17.

    #16 was an interesting/kind of fun thing to hear once, but #17 is music I'll gladly hear many times over. It demonstrates a balance of technique and a creative sensibility which is more of a challenge to pull off successfully than something which can sound like random accidents to a listener, no matter how they're justified by theory.

    And that makes them an entertaining pair, since they're so wildly contrasting in moods.

    Quite the project you've continued to work on so studiously. You have so much already, and quite a number to still do to reach your goal--I admire what you're doing.

    Randy
    When I was posting these I thought to myself "I bet Randy will like #17 a lot more than #16". Actually, I thought most people would since most go for the more melodic.

    I have been trying to make all of them work together, but these are more of a pair than any any other 2 in the set.

    7 more to go - between 2/3 and 3/4 of the way....

    Thanks for listening and your comments.

    Oh yes, one more thing - I'd like you to try an experiment - listen to #16 and imagine you are on a roller coaster, first climbing up and up, then going down, around sudden turns and over bumps before rolling to a stop
    Trent P. McDonald

  9. #9

    Re: Prelude #16 in d minor & Prelude #17 in G Major

    Hi, Trent - I appreciate you replying to my reply. I want to admit to always feeling a little self conscious when I write feedback about a piece not appealing to me. In this post, I was less self conscious than other times because I did enjoy what a great contrast these two Preludes have, and I think your compositional work on 17 is so good.

    Roller coaster - Yes, but do you know what a "Mad Mouse" is? It's a type of roller coaster that has severe right angle turns that jerks the passengers around. Not a very pleasant ride. That would be more like what something like Prelude 16 does for me.

    But what it gets down to in my personal preferences, is that I've just become weary of music which is so unpredictable that it sounds random. All such pieces have the same Mad Mouse effect on me, and it's just not very interesting to me anymore.

    And of course all personal preferences are the result of many factors, and can include our own direct experience. I went through a period years ago of writing some very free, non-classical things, feeling I'd really hit on a break through of some sort. They were undisciplined improvisations which held little or no interest for other people - So I eventually wrapped that up and moved on since it didn't make sense to keep writing music that most people don't like.

    That's why I use the term "weary" in relation to music I find equally unstructured as what I used to write. I became much more admiring of pieces that make Western Theory not sound dated. And now for some time what I write is rather melody oriented - even though I rarely have the patience to stay restricted in a diatonic approach, you've heard how I prefer chromaticism.

    So - I guess I'm saying I'm more interested in original sounding music which I feel has a better chance of reaching a larger audience. I really think that's more difficult to achieve, more of an accomplishment when successful - As your Prelude 17 is, and other entries in your series.

    Thanks.

    Randy

  10. #10
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    Re: Prelude #16 in d minor & Prelude #17 in G Major

    Hi again Randy. I didn't think your original post was harsh or anything - I've gotten to know your tastes from how you reply so I wasn't surprised by what you like and what doesn't work for you.

    I have also seen a couple of times where it seems if somebody spends a lot of time in their description laying out the technical framework of something, you almost go into "OK, this is academic music" mode. Just wanted to see if I made it more of a visual, programic piece and less a piece about certain chords it'd strike you more. I guess not. But don't worry - that's why I said it was an experiment.

    Thanks for the continued discussion and comments.
    Trent P. McDonald

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