chopin' and changin'
OK, so turns out the beautiful piano pieces whose names I was searching for in the music meme were actually:
Chopin's Prelude in D flat - takes a little while till the delicious bass notes come in and it starts getting yummy - 1 minute 35 in my mp3 copy, but worth the wait, and this section is all the better for being framed by the more "pleasent" exteriors.
Debussy's Sarabande, the second piece from Pour le piano - the only thing I can remember about studying this piece is that some of it uses quartel harmony (harmonies built on fourths instead of thirds). I'm afraid the rest of the time I was too busy wallowing in it's sumpiousness.
I've just realised these pieces have obviously been floating around in my conciousness long enough (not quite a year) for them to start really influencing my output, as they invole a slightly more reserved melencolly than the wild passion and depression of something like The Heart Asks Pleasure First/The Promise. Whilst I still espouse this "fling your soul into the music" (then your body off a cliff) approach, most recent compositional developments have also involved a certain degree of...calm is the wrong word, I like to think it's still bubbling under, restain? Maybe that's the right word. I guess a case in point is a piece I started about a month or so ago, with the working title "reserved lament". It uses a whole lot less notes than usual. I wonder whether Steve (my old music teacher, who was not a fan of my post-modernistic "repetitive" and "dull" compositions) would like it? I can't decide if he'd think the harmonies are too simple, or if the key changes would make up for it? Maybe there aren't as many key changes as I think. I dunno, I don't like to work key stuff out. Ah well, Wagner's Prelude to Tristan Und Isolde is lush, so i'll enjoy listening to that instead of wondering pointless stuff.
Chopin's Prelude in D flat - takes a little while till the delicious bass notes come in and it starts getting yummy - 1 minute 35 in my mp3 copy, but worth the wait, and this section is all the better for being framed by the more "pleasent" exteriors.
Debussy's Sarabande, the second piece from Pour le piano - the only thing I can remember about studying this piece is that some of it uses quartel harmony (harmonies built on fourths instead of thirds). I'm afraid the rest of the time I was too busy wallowing in it's sumpiousness.
I've just realised these pieces have obviously been floating around in my conciousness long enough (not quite a year) for them to start really influencing my output, as they invole a slightly more reserved melencolly than the wild passion and depression of something like The Heart Asks Pleasure First/The Promise. Whilst I still espouse this "fling your soul into the music" (then your body off a cliff) approach, most recent compositional developments have also involved a certain degree of...calm is the wrong word, I like to think it's still bubbling under, restain? Maybe that's the right word. I guess a case in point is a piece I started about a month or so ago, with the working title "reserved lament". It uses a whole lot less notes than usual. I wonder whether Steve (my old music teacher, who was not a fan of my post-modernistic "repetitive" and "dull" compositions) would like it? I can't decide if he'd think the harmonies are too simple, or if the key changes would make up for it? Maybe there aren't as many key changes as I think. I dunno, I don't like to work key stuff out. Ah well, Wagner's Prelude to Tristan Und Isolde is lush, so i'll enjoy listening to that instead of wondering pointless stuff.