12 Dec 2020

Namesake (Revision and Decision)

Some various qualities to the revision and decision.

So the work consists of seven pieces. (six single movement works, and Piano Sonata No. 1)

A few of these you can obtain through the site already which i will signify with an asterisk.

I'll describe a few things per piece on various qualities.

1. Immortality

This was originally the Fanfare "My Immortality Begins" though i transcribed and arranged it into a sonata form. And changed the key signature to C Minor. I took out some of the impossible parts to play on a piano, the second part of "part A" of the exposition uses Locrian, (which i have no idea how to shift it on musescore...) So it is kinda a mess... maybe i could just indicate Locrian for the part... but that would confuse people moreso given the utter difficulty of alternating hands on playing... which ruins all concepts of counting a 4/4 time signature. counting it as eighth notes may become an even more difficult task as it suddenly shifts back for three measures of left hand playing 4/4, four measures then a psuedo rubato left hand four measure answer. those eleven measures are basically the answer to the tedious subject. Which is using advanced technical skills to point out various natures of people's opinions of avant garde temporary music... also a self mockery of the "monkeys on the typewriter" context. Then answers with a potent anti-harmony which kinda brings Mozart's A Musical Joke into the picture, almost like the answer of the joke. then the subject repeats, with a more defined answer. Part B is a more calm and active approach to the hysterical promise of Part A. Almost as if Part A is one person and Part B is the other. This, of course repeats.

The development is kinda a fusion of the two parts to make it a bit more harmonious, with very little thought, (this is also the most enjoyable part of the piece. Which the recapitulation makes more sense.

In essense the development is simply a mistake of what i did with a few of my earlier sonata form pieces where i combine parts A and B then called it the exposition. This was due to the evil of MIDI, (which after playing some of these works on piano, they sound sooooo much more authentic and beautiful.) Which i would listen to a lot as i wrote. then boom i would edit it when a piece seemed to not flow thanks to the inhibations of MIDI.

2. Adagio to Sorabji

This is very similar to the one with a WoO stamp, however i changed it to a more traditional format and used a lot of octaves... sometimes double octaves. Which is quite the pain to practice the required speed. (this one is lagging in how much i have practiced. due to the immense difficulty... yet it is a bit easier and shorter than the previous version.) it is still in fantasia form,

3. Mother Bird (Transcribed for Piano)

this one is quite fun. it is sonata form but each part exept the repeat slows down the tempo. The hardest part is the motif for it, due to the repitition then one measure shift on a lower octave. almost ties one's fingers, i just recently figured out the optimal fingering for it. (via the left hand 4 2 1 5 '/. '/. 4 3 4 5 - 4 2 1 5 '/.

4. The Outsider

This is one of my favourite pieces i have writen for piano. due to the sheer inspiration of a combination of "A Musical Joke", Debussy's Images and Satie's Parade. this is a fantasia.

5. Eponym

This aptly titled piece is simply a bunch of excerpts from the first act of "The Tale of the Bird" It is also a really fun one to play once you get used to the absurdity of the moment song. I originally had an idea like this which quoted a bunch of works notible motives which ranged from several epochs. however it got really tedious to think of a few applicable transitions. so instead i decided to just use my own music. the title is an Eponym of my inspirations and aspirations. It was written when i was going through a hard time in 2019, Which kinda emplores the concepts of how people feel in 2020 due to the pandemic.

6. Piano Sonata No. 1 in C Minor

It is exactly the same as the original but instead it becomes a one movement piece with momentary pauses to define the three movements.

7. The Real End

This one is originally an impromtu, that i just randomly recorded one day during one of my fun practice sessions. This is by far my favourite piece of music i have ever done. (i cannot say written... since i transcribed it after some thought.) The transcription is a bit different in the middle of the piece as it was hard to make out which notes were played.

In this regard, I will upload the first draft of the score after this is posted. (it will be a WoO as it is now, when finished i'll post it as Op. 2)

The first draft will stay as a reference for future process on why i let the performer come up with the various emotions percieved in a lot of the CC# works. It will also include "The Real End" for comparision of my notation work. If anyone would like to help with the mistakes i made with the transcription, please let me know.

Thank You

E.S. Capeditiea



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