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[PeterG]

Originally Posted by stevel

Your style (or do I call them quirks ) comes through nicely.

Thanks Steve. I guess it's developing from quirks into a style thing now... LOL

Originally Posted by stevel

1. I wish the 9/8 were a little more obvious at the beginning - it takes us a while to figure out we've got triples, and then it takes a while to figure out where 1 is (it's because you keep going V-i, but your i is always on beat 2).

Oh, I didn't notice this at all. May be if I move the notes of .1 to the right hand and add a few bass notes / a chord on the 1,4,7 beats? I'll give it a go to see if that helps..

Originally Posted by stevel

2. Your B section is a little weaker than your A. In 27, the repeated E seems kind of like a mistake, especially since it's the same as your head motive - E F E D C B... but this time you go E F E E - the repeated E is a little funky. Around m. 35 it kind of saves itself though. So basically 25-35 just seems a little directionless - it's as if it's not sure if it wants to be like the A part, or if it wants to be something different.

m. 27 was just an ornament.. I didn't want to measures of rest in the right hand. Actually only the last 6 notes of this measure in the right hand are important enough to keep. may I'll just kill the first three.. This part is meant to break the theme playing constantly in your mind (as it tends to do in my mind at least). It was an attempt for a little canon (right hand follows 2 measures behing the left). Then in m.35 I could not "keep the theme away" anymore; it sneaked back in and picked up to get set to the part A for closure.
Thanks for the comments and for the listen, Steve !

Kind regards,
Peter

[mikexception]

[quote=PeterG;12529]Well, if you can play Bach (as you mentioned somewhere else) you are a far better pianist than I am.

He he - PeterG - I was first! My play of Bach is as I mentioned for my needs - my pleasure only. And when my keyboard pedal is dusty I clean with rag. I am not musician - I play as much as I can remember the melody.That's because I learned that for 5 lines of score record to my surprise they add whenever they like more on both sides which is surely not proper . Useless for me. I am too busy to solve it - may be when you will play Mozart as you mentioned, I'll fight my problem . So I play parts G-string, Fuga, st. Mateo passion, some parts of of some chorals. Still easier for me than some of my developements which are like big bang - no repeat .


I'd love to hear your live version / interpretations of my tunes....

Thank you for trust. I must practice your tunes more. But it is so beautiful that it is pleasure.

[stevel]

Oh, I didn't notice this at all. May be if I move the notes of .1 to the right hand and add a few bass notes / a chord on the 1,4,7 beats? I'll give it a go to see if that helps..

Do you know the Two and Three Part Inventions/Sinfonia Peter? You'll find some canonical pieces in there where, before the Comes (the follower) begins, Bach gives that part a few structurally important (harmonically and rhythmically speaking) notes to orient the listener.

This part is meant to break the theme playing constantly in your mind (as it tends to do in my mind at least).

Yeah - I got the same feeling - maybe the solution is to have a more obviously distinct motive here.

It was an attempt for a little canon (right hand follows 2 measures behing the left).

Bach does this quite a bit - the first pass, the Dux (leader) is in the treble, then the second section, the leader moves to the bass, OR, the leader becomes the follower (which is kind of cool and sneaky).

Usually when Bach does this, if the motive is *very* similar, the new section begins in a different key center. The new tonality helps us hear the material as "new" compared to the original, so that's something to consider in your "P.G. Bach" style :-)

Steve

[PeterG]

Originally Posted by stevel

Do you know the Two and Three Part Inventions/Sinfonia Peter? You'll find some canonical pieces in there where, before the Comes (the follower) begins, Bach gives that part a few structurally important (harmonically and rhythmically speaking) notes to orient the listener.

I'm afraid I do not know that many work of Bach. I'll see if I can find this on the internet. Thanks for the tip.

Originally Posted by stevel

Bach does this quite a bit - the first pass, the Dux (leader) is in the treble, then the second section, the leader moves to the bass, OR, the leader becomes the follower (which is kind of cool and sneaky).

Usually when Bach does this, if the motive is *very* similar, the new section begins in a different key center. The new tonality helps us hear the material as "new" compared to the original, so that's something to consider in your "P.G. Bach" style :-)

Ah, my P.G.Bach style, eh? I consider this a compliment (thanks !) and I never thought of changing to a new key. I rarely do actually (in most cases only to the corresponding minor/major and back). Maybe because I hated key changes when I played the oboe (.....just got used to all the sharps and flats, then the bloody tune changes completely and I'm off again!), maybe because I do not dare go there (yet) ? I don't know. I'm going to experiment with it I'm sure, but when? You'll be hearing it here.....

Peter