# Variations



## Pennypacker (Jul 30, 2013)

This is my third composition, in the form of theme and variations. I've disappeared from the forum in order to write this piece, also working on my theory and meeting the requirements of applying for a couple of music institutions. I still visited the forums every day for information and suggestions (also listening to compositions posted here), but I found that writing takes way too much time for me. I'll try to participate more now.

Anyway, here goes: 





I've employed some new techniques in this one and tried to step out of my "comfort zone". So I wonder exactly how bad it came out.


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## MozartEarlySymphonies (Nov 29, 2013)

That was such a beautiful work! I really loved it! I really hope you get accepted into those institutions. You have great talent! 

PS-I just started writing a Theme and Variations for Piano and Orchestra on the Promenade from Mussorgsky's Pictures at an Exhibition. Can you please give me any tips you have on writing those variations?


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## pluhagr (Jan 2, 2012)

Switch from treble to bass clef in measure 50 is odd. It would be easier to read with just a low G written. Just an overall inconsistent change in clefs. I liked it, though I felt like it dragged on a bit at times.


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## BurningDesire (Jul 15, 2012)

I really like this! Your theme at the start is really interesting material, and you really get alot of great music out of it. I love the use of silent moments in the piece, the juxtaposition of more sparse textures with thicker ones, and quiet and loud dynamics. The melodic and harmonic interplay is really great  Please continue writing.


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## KenOC (Mar 7, 2011)

Oooh, dat's nice! Thanks, like it!


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## TurnaboutVox (Sep 22, 2013)

I have listened to your 'Variations' a number of times now and I also really like them. I find them really inventive and musical. Thanks for posting them.


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## hreichgott (Dec 31, 2012)

These are so creative. Let me join others so far in saying how much I enjoy them. Each variation is really, really different from the others and I rather like the work of finding the similarities  I love all the different styles and I think it would be delightful to perform.

One little notation issue: when you have whole-note trills in the RH along with other voices, usually the trilled notes are written on the same staff like this -- much easier to read
(I seem to be all about posting Beethoven excerpts on the forum this morning...!)








You are learning so fast and I look forward to hearing how you continue to develop!


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## Guest (Dec 24, 2013)

There's definitely a ton of promise in here. This will be a good submission for music school applications.

I would be careful about too much motivic repetition. You use a lot of rhythmic sequences in succession, so I would throw some rhythmic variety in. The notes themselves are fine, I wouldn't change them at all: simply change their rhythm. This will help avoid too much predictability, which is something I don't think you're striving for in this work. It has an almost Prokofiev-esque quirkiness about it, so avoiding rhythmic predictability will go a long way towards making this piece more effective. 

Nice work!


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## Pennypacker (Jul 30, 2013)

MozartEarlySymphonies said:


> That was such a beautiful work! I really loved it! I really hope you get accepted into those institutions. You have great talent!
> 
> PS-I just started writing a Theme and Variations for Piano and Orchestra on the Promenade from Mussorgsky's Pictures at an Exhibition. Can you please give me any tips you have on writing those variations?


If you're writing for an orchestra, then I'm in no position to give you advice. And if I am in that position, then you have no business writing for an orchestra.  
Seriously though, I don't have much to offer you except terrible generalizations and cliches, that probably work only for me anyway. I haven't actually studied the variations form much. Actually it will be much better listening to my work and thinking of what doesn't quite work there, for example Jeff's excellent comment. 
Personally I wouldn't go for this theme. Beautiful as it is, it seems a bit limited to me for this form. I used a theme that can be divided to three independent sub-themes, so I had many possibilities for variation. But obviously you have an idea for this to work, and I'll be interested to hear the result. Good luck!

Heather, are you referring to mm. 22-26? The trilled notes here are 'inside' an octave, and it's pretty hard to cram that trill sign in there.  Couldn't think of anything better.


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## PetrB (Feb 28, 2012)

Pennypacker said:


> Heather, are you referring to mm. 22-26? The trilled notes here are 'inside' an octave, and it's pretty hard to cram that trill sign in there.  Couldn't think of anything better.


in mm. 22 & 23, they're all whole notes, place the trilled note left of the octaves in the vertical alignment, and that is completely clear.
mm. 24 & 25, do exactly the same, and flip the flags of the quarter note octaves upward -- again, totally clear.
The extra stave for these is truly unnecessary clutter


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## Pennypacker (Jul 30, 2013)

I did not know of this possibility, thanks. I was surprised to find that MuseScore is actually capable of such a vertical mess. 

BTW, did you receive my PM?


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