# Tríptico for piano



## Anterix (Jan 24, 2010)

Different ways to use a dodecafonic series.

Any way you chose please make music.

That's what I tried to do here. Hope you enjoy it.


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## Crudblud (Dec 29, 2011)

This is really good. I think your treatment and development of gesture is considered and precise, but also has a sense of spontaneity which prevents it from feeling like an exercise, as the 12-tone technique can appear if not handled with care. I like the contrast of staccato and sustained notes, the way they come together sometimes presenting the listener with what I could almost call "suggestions of chords," where the notes seem to coincide briefly and as if by chance, but this too reveals itself to be precise and careful upon repeat listens (I have now listened to it four times). I think you should be very pleased with this work.

One criticism I would make is that the conclusion seems too short and too repetitive, that somehow the freedom and spontaneity I spoke of becomes constricted and prevents the piece from finishing on its own terms. Of course, it's not for me to say how you should end your piece, and you have done a good job either way, but the thought did occur to me that this ending could possibly be reworked and improved.


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## aleazk (Sep 30, 2011)

This comment applies to all the pieces you posted.

Definitely you have a great talent, but definitely you have to work in your style. At least to my taste, it can sound incredibly cliché sometimes. That's not good, because it makes your music to sound very generic (even if it's very well crafted).

In your orchestral pieces (and even in this one too, but to a lesser degree), I hear well crafted music, but I fail to hear a singular person behind its composition. I often feel I could be easily hearing this music in any generic hollywood movie.

You have developed good tools and musical intuition. My recommendation is the following: stop listening to music from movies 
Become more familiar with a more modern, wide, and varied repertoire and start to develop your own, personal style from these influences. You need to develop your own musical devices and tricks. For example, I really didn't like those timpani in Nunc Dimmitis, they are too much "by the book". It makes the music extremely predictable and unauthentic.

You already have the craft, that's a very hard part.


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## PetrB (Feb 28, 2012)

I can only second Aleazk as to every point he has made. The 'generic' quality of the material is heard as 'banal,' and very much in that common language found in film scores and video games, where -- also already said, it is near impossible to tell one composer from another because "it all sounds too much alike."

These serial pieces, ironically, are somewhat also cliche, but I would readily forgive that if a preliminary essay, it takes more working with to make them sound less like the early style associated with that.

They also prove, in a more acid test way, that you do have a very fine ear, for both pitch, and instrumentation as already demonstrated in the band works: these pieces show that even more clearly, though.

Now you have to turn off almost all the 'pops' classical you still consume, to find your more distinct voice: this is as important whether your hoped for future direction is to become a truly new and exclusively classical composer, a composer of high-school and college wind-band repertoire, or score for films and video games.

Congratulations so far, but it is time to find your way to not sounding like so many, or indeed, like yourself in those band pieces you've posted.


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## Anterix (Jan 24, 2010)

Thank you for your thoughts PetrB, aleazk and crudblud.

I much appreciate your words to me.

It is true I always worked hard on aquiring craft. To know how to do the thing. Maybe not so much on the thing itself.
To tell you the thruth I don't even ear much cinema music. But as all kinds of pop music it enters our ears every day even if we don't notice it.

The composers I like to listen to more are Messiäen (Turangalilla, Quartet for the end of time,...) Webern (Op24, Op21, Op27, (and although this piece (tríptico) uses a different way to use the series I think it sounds a lot to the harmonies of Op27)) Schoemberg, Farben from Op16). On a different side, Arvo Pärt, Peteris Vasks and Rautavaara.

But I agree, I should look more for something personal. It will not be easy. Or, in fact I dont know if it will be easy, I'll have to try. Listen to more music can only be good. To try to put my style together I may need help...


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