Piano Rhapsody Impromptu

[Andrew Levin (wpld88)]

This is the first time I have transferred a score that I have written on my keyboard into my computer. I have studied piano for seven years, and I have been composing for two, but I have only an intermediate knowledge of music theory. Please critique my first attempt at a composition so that I might learn how to edit my current work and compose better scores in the future.

Regarding the piece itself, it is a rhapsody of sorts. I play around with timing, tempo, and dissonance. However, it is also extremely melodic. It is also very long, spanning 14 pages and roughly eight minutes, but it maintains its musical interest despite its length. The one problem people keep telling me it has is an overuse of parallel movement and not enough contrary movement. Could you please give your input?<center><table border=1><tr><td>http://www.notation.com/discus/icons/attachment_icon.gifRhapsody Impromptu in C Minor Part 1
Rhapsody Impromptu (http://www.notation.com/discus/messages/35939/Rhapsody_Impromptu__Piano_Concerto_in_C_Minor__op_ 1__part_1-27727.not) (468.2 k)</td></tr></table></center><center><table border=1><tr><td>http://www.notation.com/discus/icons/attachment_icon.gifRhapsody Impromptu in C Minor Part 2
Rhapsody Impromptu (http://www.notation.com/discus/messages/35939/Rhapsody_Impromptu__Piano_Concerto_in_C_Minor__op_ 1__part_2-27728.not) (479.5 k)</td></tr></table></center>

[Mark Walsen (markwa)]

Hello Andrew,

Congratulations on your first recording of your composition and conversion to notation.

Of course, you realize that the notation does not correctly represent the meter, rhythms, and barlines of the music. In Composer 2.0, some months from now, there will be a new feature that will make it easy for you to fix up the notation of the rhythms.

The best advice I ever received for composing is to analyze what works for you and doesn't in the music. An understanding of formal music theory helps, but you don't have to have a PhD in music theory to write good music.

If there is a part of the music that you are particularly happy with, look at it closely. Find out what it is about this part of the piece that makes it successful for you. Examine what's happening with the harmony, the rhythm, texture (number of and spread of notes across the piano keyboard), use and reuse of musical ideas, structure of the piece, etc.

If there is a part of music that you are not happy with, do the same thing. Examine the various elements of the music, and find out what doesn't work for you. Be honest with yourself. Don't hang on to notes that deep inside you're not happy with but are nevertheless emotionally attached to because they originated from you.

Also, do the same thing with the music of your favorite composers. Listen to the music, or better, if you have the score, study the score while listening to the music. If you have the MIDI file, slow down the playback, or turn up the volume for one instrument at a time, to focus your listening.

Use your head to understand what you're doing in the music, so that you can develop craftsmanship that will enable you to musically express the underlying emotional inspirations .

Cheers
-- Mark

[M G Jacobs (mgj32)]

Hi Andrew,

I rather like the piece, especially the overall driving quality and the melodic sections. I am a little preplexed by the title because it raises questions, such as, is it a rhapsody or (part of) a piano concerto, perhaps the slow movement? If it is part of a concerto, I wonder what part the orchestra has. Could "rhapsody" be a kind of cop out, where "draft" is really meant, and you envision editing and addition yet to come?

Nevertheless, the piece is a good listen. I'm not sure the level of one's knowledge of musical theory is all that relevant. One doesn't listen to theory, so perhaps a knowledge of what is out there to be heard is as good a study as what theoretically possible or desirable.

Mark's advice about the analysis of your own work is excellent, as well as making use of the large selection of midi transcriptions that is online. You might learn more that would be applicable to your own musical imaginings by finding out why it is that Beethoven's "Eroica", Sibelius's 2nd Symphony and Ives's "Holidays" sound so different and evoke such different emotions, although they all start with basically the same compositional materials.

The ending of your piece is quite appealing. Although a Bb Major to C minor cadence doesn't suggest finality, you bring off a sense of ending quite well by the use of single tones alternating with chords, while evoking a sense of yearning--for what I don't know--perhaps a continuation of the music . . .

all best,
mgj