# Notturno for piano, live recording



## pkoi (Jun 10, 2017)

This is a piece I have posted here before about a year ago. However, this is a new live recording of it, recorded in a contemporary music society (Korvat auki - ears open) concert this december. I will attach the score also on this post. Enjoy!


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https://soundcloud.com/pekka-koivisto%2Fnotturno-live

View attachment Pekka Koivisto - Notturno_.pdf


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## mikeh375 (Sep 7, 2017)

Hi Pkoi,

I enjoyed this atmospheric piece very much. I could see use of augmented triads, but was wondering what other organising principles you used. Do you intend to write some accompanying pieces for this?


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## Vasks (Dec 9, 2013)

Pekka,

Do you consider your score finished visually? If so, I really have many recommendations, often regarding too many unnecessary accidentals that makes your piece more difficult to read than it needs to be.


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## pkoi (Jun 10, 2017)

Thanks! This song has few harmonies besides the augmented chord, where the music constantly returns. In the opening of the piece, until rehearsal mark A, I use the chord (014) constantly (minor and major third together). It's usage is prominent from mm. 11 onward. There are extra notes added to it, but the idea was to create a prolonged harmony with that chord. 

In mm. 27 another important chord appears (023458), which is used constantly until mm. 34. It's a gestural modification from the opening chord.

In the most aggressive parts, mm. 35-38; mm. 64-69, a prominent chord is (016), which is combination of augmented and natural fourth (or it's inversion diminished fifth and natural fifth). This chord prominently appears in the high register. Beneath it is usually a transposition of the opening chord or a subset of it.

Another technique i use in the beginning is the locking into a certain pitch and revolving the music around it. The music around it is either some established chord like the aforementioned (014) or chromatic filling over the locked note. Essentially the opening until rehearsal mark A is based on music that revolves around the pitch A4. in mm. 20-33 I wanted to use the same idea but with growing intensity. Thus locking into a certain pitch varies faster, starting from C5 in mm.20-27; E5 in mm. 28-30; G5 in mm. 31-32 and finally B in mm. 32-33.

These are some elements that I used to build this song. I usually pick some harmonic, rhythmic and melodic elements in the beginning of the composition process and try to stick with them as much as possible. After that the planning of the actual dramatic narrative shapes the song into what it is. I usually try to play with expressional, registral and rhythmic oppositions to create drama and variety into the music.


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## pkoi (Jun 10, 2017)

Go ahead Vasks! This score is couple of years old and has been performed from it a few times but I'm always up for revisioning in terms of readability. I usually use accidentals over everything if the score is very chromatic, a habit I picked up from my composition teacher years ago.


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## Vasks (Dec 9, 2013)

I'll do some through TC private messaging. I'll start with just a measure or two with explanations. If you don't like those suggestions, there will be no need for me to do more. And I'm not sure whether I'll do it today, but if not, soon.


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