# Parsimonious Trichords



## RamonC (Jun 7, 2018)

This is a piece for piano based on Neo-Riemannian theory


__
https://soundcloud.com/ramon-capsada-blanch%2Fparsimonious-trichords

In the following links there are the PDF files with the explanation of what the fundamentals of this piece are.

Explanation in English language:
https://drive.google.com/file/d/1Le66JNBocRH9bBr3d-mRrqqa-uS4nYz4/view

Explanation in Spanish language:
https://drive.google.com/file/d/1t1-xbA49NjBk-WL9LEtPrqxhYZs67-Ko/view

I would appreciate if you would listen to it and, of course, any comments will be very well received.


----------



## Phil loves classical (Feb 8, 2017)

Sounds interesting. I had to look up Neo-Riemannian theory. Didn't feel like absorbing the stuff in depth, but in general I feel the major/minor juxtapositions can also be explained with common theory. I suspect it's a subset of it, maybe with a twist or two, and has a more specific sound. It held my interest throughout.


----------



## RamonC (Jun 7, 2018)

Thanks for listening to me and for commenting.

I'm glad you found the music interesting!

Of course there is no need to go into this theory in depth. The important thing is to listen to the music, obviously. I have written the theoretical explanations to contextualize the work and in case someone had an interest in it.

Its application has not produced very new results with respect to the application of the common theory, but it has allowed me a complete creation of the series of the 24 triad chords with a structure that exhaustively contemplates all cases.


----------



## RamonC (Jun 7, 2018)

You can also listen to, if you wish, this real version performed by Edward Cohen, a pianist from Scotland, which has recently been recorded:

www.youtube.com/watch?v=pn0t5N1mXdA

(A couple of months ago I released this piece, but then it was a MIDI performance for a virtual piano, a VST sampler).


----------



## Enthalpy (Apr 15, 2020)

Nice! I first feared it was only music theory, but this is real music, with creation, fantasy and surprise effect. I like it, thanks!

About the notation of your score: your software prints, err, debatable things. Maybe you can keep a firmer grasp on the software so that its output is less disturbing to read. Musical notation is already horrible enough, and to help reading, editors use many conventions.

Bars 27, 30, 141, 160, 163 and elsewhere: the tied notes would begin with the shorter ones. Double and triple dots help too.

From bar 76 on, and 160, 163, 218 and elsewhere: tuplet brackets common to the left and right hand would help read the rhythm. Don't write the rests at left hand when the right plays, and vice versa. Lilypond has invisible rests, I don't know your software.

From bar 89 on, and 220 on: in addition to common tuplet brackets, if you decide staccato is accurate enough, you could print longer notes and suppress most rests.

From bar 131 on: I'd prefer 3/4 and 4/4 even if some notes must be split and tied.

Bar 138: three then two notes per bracket give the misleading impression of different durations. You could remove the brackets completely or group five notes. Optionally, split the bar into 5/16 and 1/4.

Bar 139: I'd prefer to split the tuplet brackets on 1/4th durations, hence split and tie the second notes.

Bar 140: the shorter rest could come first to align with the left hand. Or group three notes per bracket and use a dotted rest.

Bars 162, 163, 165: are some ties missing? Laissez vibrer might help (or not). Lilypond has a special control to tie with the next note on same height, it's much clearer: a kind of arpeggio with ties to the final chord, without the notes in between.

From bar 168 on, I'd group two 8th per bracket.

You can append an ottava bassa or sopra to the clef. This spares the dots over many lines. Or use "sigue" and "al segno".

[...I missed a few remarks]


----------



## RamonC (Jun 7, 2018)

Enthalpy:

Thank you for listening to the music and for your kind and long comment.

I thank you very much for taking the interest in reviewing the notation of the entire score in detail and making the corresponding comments. I admit that I am not careful with the notation I suppose because of ignorance. However, the pianist who played the score did not complain in the least, perhaps out of consideration.

I will review in detail all the corrections you propose and I will seriously consider their application. Thank you very much, again for dedicating your time to my score (also without PDF!)


----------

