Reworked former piano OSTINATO etude
this etude wont leave me alone it is a good idea stolen from CHOPIN make a difficult sounding flashy solo in one hand but give the real difficulties to the other hand .there are ostinatos in Bartok that he is famous for i only have a one bar ostinato here the right hand is struggling to catch the tumbling registers at a fast tempo this etude is a true etude in finding the correct rgister for the right hand .
The left hand is a scree and awkward but I like the sound so it will stay as it is the section toward the end maybe for form's sake should be put in the very middle and converge on the first part .that does not happen here it makes better more gripping music this way it could lose some steam otherwise and it wouldnt make sense if it started up again so I have it this way .
I write music that I want to hear and play and I work it all out before at the piano so I know exactly what is what. I believe in Nadia Boulanger's principles :HONESTY before and last!
| Attachment | Size |
|---|---|
| OSTINATO Etude#3 for PIANO SOLO by EARL MARTIN.mscz | 9.92 KB |
Comments
Fast and atonal, nice combination, but please be carefull of the pianist's fingers
(intervals too big). I'm writing a chamber concert for oboe. M.A.
In reply to Mm by [DELETED] 807846
Measure 38 - either use your nose or cross your hands and hit the F# with the left elbow.
In reply to Mm by [DELETED] 807846
i am working on second ostinato etude now but noticed where muse put in or i somehow hit extra keys the chord should be a c major ith octave not including f or a marked also interval in left hand e and b cant be played at this speed the note meant is only the b.I have given up the idea of atonality it seems that the ear always tries to put what it hears in a key if there is too much information then it cant do this as in schonberg where polytonality would be the only refuge for the ear but usually there is so much happening in schonberg the ear cannot do this either.So maybe atonality really does happen in music.
Im really a tonal composer who likes far out sounds .I dont use a tone row but I'm thinking of having a formal plan for the pitches one day now I just like to write what ever happens at the piano.
i have read both Charles Rosen and Malcolm Mcdonald's books on Schonberg yet i feel i stilll dont know technically how he uses his system nor do I enjoy his post 1923 music Gurrelieder and transfigured night and the other early works espeially the 5 orchestral pieces are my favorite music!He was surely a great orchestrator as well as the composer with the most real technique and his imagination is unsurpassed!