Music composition activities: an update (emphasis on separable miniatures)

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I want to provide an update of my music composition activities, particularly with respect to preparing miniatures that are performable on solo piano or (for practical reasons) by organ transcription.

I had discussed some of this on Nov. 25, 2015.  On Jan. 28, 2015 I described the progress of my Third Sonata.  On Aug. 21. 2016, one of the miniatures was played.

Here is a list of the items I have worked on.  For each element I have a print PDF, and MP3.  Some slower tempo items are not effective when played by the computer, as they need human nuance.  The fast pieces, toccata-like, sound effective.

“Losing It” (a curious title that I won’t explain here, other than it comes from my dark days at NIH in the Fall of 1962, about the time of the Cuban Missile Crisis), is a three-stanza hymn without words in B-fat Major.   The tempo is moderately slow.  There is a middle section in F minor.

The elements are LosingItRev2, LosingItConc (concluding a dour middle section) and LosingItClose, which recasts the original tune a little more cheerfully.

The song (originally numbered Su506Bf, had been originally envisioned as an interlude in a “choral song symphony” back in 1974.

The first stanza was performed on Aug. 21.

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The other pieces in the best shape are the “PolyTonal Prelude” (PolyTonalPreludeV2 and Coda) and the “Adagio Religioso” in B Major (Sonata3Mov3MReligioso) which is a middle section in the slow movement (third) of the Third Sonata,  This section was conceived in the spring of 1962 after a college friend at George Washington University was struck by a car near campus and killed (one of the outstanding students in the chemistry class).

I’ve added a section where the chorale religioso theme is reharmonized, with a lot more outright dissonance, near the end of the slow movement (Sonata3Mov3Da2).

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The “Hymn tune” in the Finale (of #3) first appears quietly but with restless harmony (HoldApplauseHymn2)

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That’s some time after the playful Toccata-like introduction (MSonata3FinaleS1) , which is surprisingly self-contained.

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I’ve added to the cadenza before the coda in the finale  (Sonata3Mov4Cad), which is very toccata-like and plays well on the computer.  There are some invocations of the Scriabin “Black Mass” motive, and the music progresses through atonality before settling on a G#-minor chord, before the Coda, which will start in F# Major and finally migrate to C.

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The Coda is on two files (Sonata3Mov4Coda1a and Sonata3Mov4Coda2b)..  I’ve marked the hymn melodic line in blue, and a secondary melodic line in pink.  The “Hold Applause” theme (which came to me in a dream in 2011, shortly after mother’s passing) is supposed to be singable.  There is a little bif of reference to Chopin (the A Major Polonaise, and then the Op 61 Fantasy) except that the descending interval is a major third, not a fourth (Chopin’s Op 61 sounds almost like a Scriabin Sonata to me).  But then there is a “double fist take” to settle on the final C Major outburst, with the toccata-like themes earlier in the Finale played over rising bass figures, taken from the conclusion of the Bruckner #7 and the scherzo of Bruckner 8.  The final 12 measures try to pile the history of postromantic music on top of one another in a skyscraper-like structure.  Finally, the work crashes to a close on a major third (C).

Coda Part 1 Page 1

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Coda Part 1 Page 2

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Coda Page 2 (end)

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My “legacy” site (doaskdotell.com) holding all the music mp3’s has migrated to a new server recently,  I’ll copy the new files to it soon.  Right now, they’re private (in the cloud).

(Posted: Tuesday, Nov. 22, 2016 at 12:45 PM EST)

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