Mentoring Program

Piece 3

768 userid
Stride piano music
Grade Level: 12
Intended For: Live Instrument Performance
Software Used: Sibelius
Instrumentation: Piano
Key: Ab Major
Meter Signature: 4/4
Tempo: Quarter note = 130
Status: Work in Progress

Comments   

#14 Erik Nielsen 2017-04-05 09:46
Dear Ellen,
Okay, this is fine now. I uploaded a score with a small adjustment to the "simile" so it says "Ped. simile" so the pianist knows you mean pedal the same rather than something else (unspecified) the same. And if you didn't know before yesterday every instrument in each piece needs an opening dynamic, I've been doing something wrong! :-) I think you're fine with the number of dynamics.
Whew, I think we're done with these last two and just a little more on the waltz for Opus 32. Let me know if you have questions.

Best wishes,
Erik
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#13 Hyoin Rhee 2017-04-04 13:49
Hello!

I just edited the third one. I corrected the dynamics, crescendi, and pedal markings. I put in "sim" at one point for the pedal marking because I wanted the pedal marking patterns to be the same as the first part. Is it okay? One last question: Do you think I need more dynamics or do I have enough now? Oh and I learned today that I need to have an opening dynamic! Thank you :) I am so glad I am ALMOST ALMOST ALMOST done with these!!! I'm going to record the first and third composition today to send to IB.

Ellen
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#12 Hyoin Rhee 2017-04-04 13:06
I just added the second piece in its folder too. My questions + answers to your questions are left as comments on the score. They are mostly about dynamics.

Thank you!
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#11 Hyoin Rhee 2017-04-04 13:01
Hi!

I did get your note! Thank you :) I edited everything in the first piece and uploaded in the file. I just have one last question, so it's about pedal markings again but in measure 45 I have "sim" so I put it there because I didn't want to put in the pedal marking for every single measure. Did I put it in the right place? If I put it there, do I have to indicate where the pianist has to stop using the pedal? I also put in some more pedal markings in the end of the piece--does that make sense? I am not sure how "sim" is used and what I have to do with pedal markings once I've used "sim."

Thank you!
Ellen

p.s. I'm working on editing the 2nd and 3rd compositions right now. I'll upload them ASAP.
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#10 Erik Nielsen 2017-04-04 10:00
Dear Ellen,
Thanks for your note. I've looked over all three pieces and have uploaded a score for each in the appropriate folder. I had actually done that already yesterday for "The Butterfly" since that is an Opus 32 piece. (You did get my congratulatory note, didn't you?)
Although I have notes in each score, you have given me a number of questions, so let me try to answer them. My answers are in solid caps so you can see them more easily.

For my first composition, did I put in the pedal markings correctly? CORRECTLY BUT INCONSISTENTLY (SEE THE NEXT QUESTION.) What's the difference between the pedal marking that says "ped" and the one that has * or the one that looks like ^, etc.? IN ESSENCE THERE'S NO DIFFERENCE, BUT BY USING BOTH AS YOU HAVE IT'S CONFUSING FOR THE PLAYER WHO WILL ASSUME YOU WANT SOMETHING DIFFERENT FOR EACH MARKING. USE ONE OR THE OTHER. PERSONALLY, I USE THE ONE YOU HAVE IN YOUR VARIATIONS WITH THE LITTLE CARET MARK AND THE LINE, BUT EITHER ONE WILL WORK, JUST USE ONE OR THE OTHER THROUGHOUT THE PIECE.

And for my second composition, is it correct to have a double line between each variation? Should I change that to just regular line? THE DOUBLE LINE IS FINE.

And for my third composition, I am not sure how to put in the dynamics. Mrs. West told me I have to put in A LOT of markings for IB but I don't really understand that because I think for some pieces you don't need to indicate every single dynamic. It's either already implied or unnecessary.
BE CAREFUL ABOUT YOUR ASSUMPTIONS. IF YOU'RE WRITING FOR A JAZZ GROUP, DYNAMICS ARE SELDOM USED. HOWEVER, CLASSICAL PLAYERS NEED YOUR WISHES SPELLED OUT. HOW IS A PIANIST IN MILWAUKEE, FOR EXAMPLE, TO KNOW WHAT YOU WANT IN YOUR MUSIC IN TERMS OF DYNAMICS UNLESS YOU SHOW HER OR HIM? IT'S ALMOST IMPOSSIBLE TO HAVE TOO MANY DYNAMICS, BUT IT'S VERY POSSIBLE TO HAVE TOO FEW, AND WHEN YOU LOOK AT THE SCORES I'VE UPLOADED, YOU'LL SEE THAT DYNAMICS ARE THE SINGLE BIGGEST MISSING ITEM. SO THAT NEEDS IMMEDIATE ATTENTION.

Okay, back to regular lettering. I'd use bold type, but I don't trust it on this site. It often doesn't work. Anyway, Ellen, I hope I've answered your questions. Please remember that once you're done getting the pieces ready for IB you need to get back to me on "The Butterfly" with a new score that deals with the issues I've raised. Once that's happened I'll have some other things (bio, piece description, etc.) for you to take care of. Please let me know if you have questions.

Best wishes,
Erik
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#9 Hyoin Rhee 2017-04-03 10:08
Hello! Happy April!

I submitted the final versions of all my compositions (Composition #1, #2, #3) and they are in the "Ellen" folder. Could you please have one last look at them? They are actually due Wednesday so I had the whole week to put in dynamics, etc... And I have three questions: For my first composition, did I put in the pedal markings correctly? What's the difference between the pedal marking that says "ped" and the one that has * or the one that looks like ^, etc.? And for my second composition, is it correct to have a double line between each variation? Should I change that to just regular line? And for my third composition, I am not sure how to put in the dynamics. Mrs. West told me I have to put in A LOT of markings for IB but I don't really understand that because I think for some pieces you don't need to indicate every single dynamic. It's either already implied or unnecessary. So! Please have a look at my final versions, the dynamics I put in, etc. and it would be great if I could hear back from you before Wednesday because Wednesday is submission day!

Thank you soooooo much!!!
Ellen
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#8 Erik Nielsen 2017-03-24 10:28
Dear Ellen,
Thanks for your latest posting. This is now much closer to completion. It really is a charming piece, one that I hope you or someone else will perform in public.
I have some things to report and then I'll get to the issue of stretching the piece to fit the time limit.
First, in the uploaded score I've saved you a bunch of time by re-notating all the incorrect things: mainly rhythms, but also some accidentals. I've left comments on the score to reflect this. You didn't make these changes the last time, so I figured I'd better because you're so pressed for time and it didn't take me long.
I'd also recommend you use octaves in right hand in places like bars 29-32 and 61-67 so the fuller sound matches the left hand. (I'd also add an upper octave to the E in left hand on the downbeat of bar 68 for consistency). I've made a few other comments that you can see.
Okay, to get the piece to 3', the first thing you can do is slow the tempo from 130 to 120. It will still be fast enough and will add 20" to the piece. That will get it to about 2'40". Next, I'd look to extend the thematic repeat that's in bars 36-43. I think you can figure out some ways to do a varied repeat of eight bars with some more figurations, etc., that will keep it interesting. I also think you might also be able to stretch out the final statement and coda by a couple of bars. If you can do both these things at the new tempo, that is, add eight bars to the section before the key change, and also add a couple of bars to the final statement and coda, that will give the piece the necessary 20". Is that the only solution? No, but it's one for you to consider.
Ellen, your piece is very close to complete. Think about what I've written, check out the uploaded score (and use it for the changes I've made!), make sure you've got a title and your name as composer, and then go to work stretching. Let me know if you have questions. I look forward to your next posting.

Best wishes,
Erik
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#7 Hyoin Rhee 2017-03-22 21:49
Hi!

Thank you so much! I mainly worked on writing notes so I will make sure to fix what you told me to fix before I have to turn in my final version. I've written some more but right now I am at 2:30 and I have no idea how to make this piece longer. Do you have any suggestions? It's due next Tuesday so I am in a hurry and I don't have any good idea :(

Thank you!!!
Ellen
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#6 Erik Nielsen 2017-03-16 15:06
Dear Ellen,
Wow, I really like this piece! You've got a very good feel for the genre and even in bars 28-34 with the lowered 7th (G flat) sounding a bit more contemporary, it still works well.
There are only two issues at the moment and they are both notational. First, you've got a number of rhythmic notation problems in your main theme that prevent our seeing beat 3 in the right hand. I've corrected it in bars 2-7 as a model for the rest of the piece.
Second, when you go into minor in bars 18-33 all those B naturals are actually C flats and need to be notated as such.
Other than that, Ellen, so far so good. Just keep at it. Eventually the piece will need dynamics, but if you want to keep writing to finish the notes first, that's fine with me. Please let me know if you have questions. I look forward to your next posting.

Best wishes,
Erik
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#5 Hyoin Rhee 2017-03-15 18:11
Oh, and I forgot to answer your question: It's an original! :)
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