# My first Finale composition



## chillowack

This is a piece I recently composed in Finale Notepad, as part of my current initial phase of experimentation with notation software.

This waltz is actually the first movement of an eventual full piano score for an operetta I am composing, which is why it "ends" somewhat abruptly: at its current point of conclusion, it is supposed to switch from 3/4 to 4/4 time, but you can't switch time signatures midstream in Finale Notepad, so I must upgrade before I can continue the composition.

Meanwhile, please let me know your impressions of this first passage: I would greatly appreciate the feedback.


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## SenorTearduct

Oh, very nice.. I like this alot.. But as you say this is for an operetta, i would suggest keeping that form just as it is for when the voices are in, and use the cello's and basses to follow a bass melody in the 3/4 time, but only use the higher strings as accents.. (if you go orcherstral in the operetta). But to also use this nice passage as like an overture to the operetta. When/if you do that I would suggest changing up the left hand rhythm every other or every third measure so as to sustain it as a well mixed work.. But a very nice piece indeed, i enjoy the right hand intro very much


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## chillowack

Thank you for these valuable comments SenorTearduct, I have studied them carefully to make sure I understand exactly what you are saying. 

I like your idea of having the cellos and bass follow along with the left-hand accompaniment, and I think that is probably what I will end up doing with the orchestral arrangement.

As for alternating the left-hand piano every other measure, you're saying to vary the chords slightly, right? For the sake of variety? I have thought about this as well, and I will take it into consideration and experiment some more with it.

I'm keenly aware that, this being my first composition, there will be various possible improvements and refinements, and I am open to input from more seasoned composers as to what these might be. It's a learning process, so I value your input, my friend, thanks!


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## SenorTearduct

Oh my friend, I am hardly a seasoned composer, writing for 4 months is not what I would call seasoned, but I do feel that I can help and for that I am thankful.

and no, what I was trying to say was sure you could invert the cords to change their structures in the left hand, but i was more refering to changing the rhytem of the section. Like at this point your left hand structure consists of the little finger playing the base note of the cord, then the middle and thumb playing the last two notes of the cord twice all quarter notes... You need to variate the rythem... Listen to Mozart's turkish march, listen to the left hand and note how the structure is awalys changing.. try more to replecate that for the overture work


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## SenorTearduct

and did you find my thread?
I must warn you most of the works on that thread are very baroque, so if your not into the organ sound just tell me because I have other earlier works that are much lighter...


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## chillowack

Ah, I see what you mean, Senor: you're saying I should vary the way I'm playing the left hand, "mix it up a little." Yes, you are right about this, and the same thought occurred to me as I was listening to Shostakovich's _Waltz-Shutka_ today at the recital. I will definitely take this into consideration, thanks for the suggestion!

Yes, I found your piece and commented on it. Well done, my friend!


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## SenorTearduct

No problem, and I havnt heard of that piece.. i think ill look it up it sounds good enough


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## chillowack

Yes, it's an interesting piece.

Hey, if you happen to come across any other waltzes in which the left-hand varies in an instructive way, please let me know: I would like to listen to various examples of this. Thanks!


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## SenorTearduct

Oh, a very nice piece, indeed. and Chopin's Minuet waltz comes to mind... it changes well around :47.


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## Ben

A most charming composition, Jason! 

You seem to have the gift of melody, and I very much enjoyed the change of pace towards the end. One thing I could have wished though, if I am to be critical, is that the piece had been a little more "mischievous". For me it lacks the element of surprise, or perhaps some sort of humerous twist that could have complimented your obvious talent for melody. This is something that in my humble opinion could provide an increased artistic "substance" to your piece. Perhaps a surprising modulation to an unrelated key? Perhaps some sort of dynamic development? I don't really know what it might be, but I certainly feel there is quite some unused potential in your piece. I guess its the lack of contrast that is the point of focus for me. 

But as said I am impressed, and convinced of your talent.


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## SenorTearduct

If anything I think those contrasts in theme should come/ if you chose to use them/ after you change to 4/4 time... or they should come in the vocals/arie... not in the overture... but i do agree there should be modulation, weather or not it is litilary connected to the libretto or not.


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## chillowack

Thank you very much, Ben! As you know, I am quite a fan of your own work, so it is very encouraging to hear your words of praise and instruction.

Yes, melody has always been one of my main musical gifts, which is one reason I gravitate toward Mozart, the Prince of Melody. And I'm sure you are right that there is untapped potential in this rather basic composition of mine, and that it could benefit from some creative twists. I will meditate on your words as I continue evolving the piece.

Meanwhile, if you happen to come across an instructive example of the type of thing you describe (or if such an example exists somewhere in your own _oeuvre_, for that matter), by all means, please let me know: I will study it closely and, I am sure, derive great benefit from it.

Thanks for listening!


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## SenorTearduct

Oh, Ben then I am to suppose you are a composer also? I see you are new to the forum as we all are here, I think id be cool if you were to post some of your music on here also


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## chillowack

Yes, SenorTearduct, you have guessed right: once the 4/4 kicks in, the piece will indeed change dramatically--and it may be that Ben's wish for contrast will be fulfilled by this alone.

I have just finished downloading Finale PrintMusic, which has the capability to shift from 3/4 to 4/4 in mid-piece, so I will begin the next section this evening, and hopefully post it here before long. Thank you again for your input!

And yes, Ben is indeed a very talented composer! I look forward to his posting some of his work here as well.


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## SenorTearduct

and have you given any thought to the libretto so far? or know if you might write it yourself?


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## chillowack

SenorTearduct said:


> and have you given any thought to the libretto so far? or know if you might write it yourself?


The tricky thing about the libretto is it's going to be in Italian, and I don't really speak much Italian; so I am leaving that part for last.

Today at the recital, however, I had a fortuitous encounter with an opera singer, who has kindly expressed a willingness to possibly take part in my project, which would be a tremendous boon to it.


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## SenorTearduct

Ahh.. that is an excelent bonus!!! But as i myself am working on a large opera (großartig Gesamtkunstwerk "Finite Terra") I would suggest coming up with the basic themes, characters and plots. This by itself will help you write parts much more adapted to the characters giving the operetta life...


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## chillowack

Good point, my friend! Those aspects of the story may inform the structure of the composition.

However: I'm doing this operetta a bit "backward," starting with the musical themes rather than the libretto. This is because (as Ben noted) I am a melody-oriented composer, and therefore music tends to take priority over lyrics in my work.

Not to worry, though: the lyrics will fit the rhythm of the theme, and the subject matter will be appropriate for the medium.


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## SenorTearduct

and I just saw your comment on the other Thread "finite Terra" piano works ive done include
Trio in A Minor
Symphony 1 in C# Minor (twords the end has a decent piano solo)
Fuga Fantasia for piano and cello
Lullaby in C major has some piano in it.
otherwise anything else i have done was just solo works after I wrote the symphony, and i havnt put them on computer yet

so of those just say which ones you would like to hear...


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## SenorTearduct

oh I see... well its good you know where you are as a composer.. I found or at least I think my talent lies within the fuse of the two... and yes you are very good in your melodies


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