Improvisation in Dflat. (thoughts)

[alistaircrane4]

RL15w

What do you guys think about this? As an improvisation or a potential piece?

[awesom_o]

I think the harmonic scope was a bit limited. I have nothing against the key of Db... but in this case, it outstayed its welcome.

Have you taken any examinations in advanced harmony or counterpoint?

[ted]

It is very difficult to say something of substance using only one of anything - key, chord, phrase, rhythm, speed - or so I have found. I coined the personal term "principle of two" for this notion in my own improvisation. It's just a feeling I have that any art, not just music, seems to require a juxtaposition of at least two "things", more or less contrasted in effect.

I am an outsider pianist, with little formal tuition at all, especially not in any sort of theory, so this is a personal and intuitive observation which may be ignored. Nonetheless, I am inclined to agree with awesome in this case, and became desirous of your plopping in something, anything, different.

You obviously have a good feeling for romantic phrasing though, so don't stop that.

Maybe it would be better to post this in the improvisations section, as more people will probably find it there. 



 

[quantum]

A bit more on what Ted and awesom_o touched on.  One of my composition teachers would have called this the "D-flat blues,"  meaning just a little too much of the selected key. 

The perception of movement generally comes from a position of contrast, a juxtaposition (as Ted very well describes).  Borrowing from Gestalt theory, it is the flip between two states of being and not the mere existence of multiple states that gets noticed. 

Movement is an essential component of music.  Even within intended ideas of stagnation, drones, or repetitive patterns there exists movement at some level. 

Even something as simple as moving the same thematic material to a secondary key would bring in more sense of structure.  It would also have intensified the Db octaves in the last section through the return to the principal key of Db. 

If it is a drone you are after, have a look at the Chopin Berceuse.  It's a good model for having one thing remain constant, while another thing creates movement. 


More people interested in improvisation may pick this up if you move it to the Improvisation board.

[alistaircrane4]

I think the harmonic scope was a bit limited. I have nothing against the key of Db... but in this case, it outstayed its welcome.

Have you taken any examinations in advanced harmony or counterpoint?

Ive never taken any exams most of what i know I've learned from just listening to Chopin Liszt and Beethoven which i where i get ideas from.

[alistaircrane4]

A bit more on what Ted and awesom_o touched on.  One of my composition teachers would have called this the "D-flat blues,"  meaning just a little too much of the selected key. 

The perception of movement generally comes from a position of contrast, a juxtaposition (as Ted very well describes).  Borrowing from Gestalt theory, it is the flip between two states of being and not the mere existence of multiple states that gets noticed. 

Movement is an essential component of music.  Even within intended ideas of stagnation, drones, or repetitive patterns there exists movement at some level. 

Even something as simple as moving the same thematic material to a secondary key would bring in more sense of structure.  It would also have intensified the Db octaves in the last section through the return to the principal key of Db. 

If it is a drone you are after, have a look at the Chopin Berceuse.  It's a good model for having one thing remain constant, while another thing creates movement. 


More people interested in improvisation may pick this up if you move it to the Improvisation board.

I agree! I wanted to create an exposition into bflat minor but during improvisation I find it hard to do so but this dflat piece came from a larger improvisation i did in Csharp Minor but the whole of it was over 14 minutes long so i just decided i liked the d flat section more. the c sharp section is very stormy and dark

[awesom_o]

Ive never taken any exams most of what i know I've learned from just listening to Chopin Liszt and Beethoven which is where i get ideas from.

You know, those guys were pianists too, and in their time, they studied the works of their favourite masters as well... but they also studied counterpoint and harmony!

It's great to be inspired.... but formal study of these subjects will give you the tools you need to make something exceptional out of your inspiration.

[quantum]

I agree! I wanted to create an exposition into bflat minor but during improvisation I find it hard to do so but this dflat piece came from a larger improvisation i did in Csharp Minor but the whole of it was over 14 minutes long so i just decided i liked the d flat section more. the c sharp section is very stormy and dark

I'd suggest you work on small scale modulations.  Take chords (no pianisims, just plain chords) and construct a modulation to a new key, say Db major to Bb minor in this case.  It would help to use proper voice leading techniques when doing this.  Working with chords and harmonies like this can easily be mapped onto real world music, and will also get you thinking about larger scale harmonic structure. 

Agree with the suggestion of studying counterpoint and harmony.   It is not necessary to follow rules when writing your own music, but study of those subjects will help you organize your ideas and write your own theoretical rules if you desire.  As the saying goes, one does not need to reinvent the wheel.  However, learning from those that have done the work before us can get one on the right track quickly. 

[awesom_o]

I'd suggest you work on small scale modulations. 

AKA "study preliminary harmony"!   

[hmrichter]

The most dominant thing is that it's a bit... "done", for lack of a better word.
I see a lot of Liszt in this with a little Chopin too. But it lacks anything else, it seems. Your melody, (and while simplicity is good) is just two different notes repeated 2-3 too many times for me to really be able to find it beautiful. Imagine it like telling your significant other you love them. If you say it 2 or three times, it's more special than just once, but more than that and it just becomes a blur, like "Yes, we understand that the F to Gb is the melody here".
Anyways, it's definitely a good start, but you should modulate to Bb minor or C# minor. Or Ab major, if you want to keep the happy mood. Maybe make the A section calm and relaxing, then make the Ab section marked Presto and have it be very bouncy, for some good contrast.

[coda_colossale]

this dflat piece came from a larger improvisation i did in Csharp Minor

Really funny, because I've been improvising a nocturnal piece in Dflat major that has a middle section in C sharp minor which I'm transcribing now just before looking at this thread