Mentoring Program

Piano, Viola, Cello Trio

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A piece that includes Piano, Viola, and Cello. It transitions from the key of G major to A major. It is a quick-paced song that has many changes.
Grade Level: 9
Intended For: Live Instrument Performance
Software Used: Noteflight
Instrumentation: Cello, Piano, Viola
Key: G major - A major
Meter Signature: 4/4 - 5/4
Tempo: 150 - 100
Status: Work in Progress
Noteflight URL: Website Title

Comments   

#7 Erik Nielsen 2017-09-15 11:38
Dear Andrew,
Thanks so much for taking care of this. The piece looks good and I've downloaded all the parts. I'll keep you posted on the date of the concert as soon as it's been confirmed.

Best wishes,
Erik
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#6 Andrew Kim 2017-09-14 20:57
All done!
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#5 Erik Nielsen 2017-09-13 13:36
Dear Andrew,
Thanks for taking care of so many issues. I'll give you a (much shorter) list of corrections and then instructions for creating the parts and sending them to me.
Corrections (a lot of these I missed last time):
1. Bar 3, piano left hand turn the first two quarter rests into a half rest
2. Bar 17, piano r.h., change the whole rest to two half rests
3. Bar 43, piano l.h., change the two eighth rests at the end of the bar into a quarter rest
Bar 53, piano l.h., change the two quarter rests into a half rest; cello, same bar, change the whole rest into two half rests
At letter C, the cello has a p when it's resting, so please delete this
Once you've done this, please repost the score. In addition, in case I haven't given you instructions on creating multi-bar rests in the parts, here they are:
Go to Settings (that's the "gear wheel" next to the tuning fork in the upper left part of the tool bar above your music). Click on it and a menu will open. Click on Formatting in the upper menu, then go to near the bottom of the Formatting page that opens up and check the box that says "automatically create multi-measure rests". Save your changes and then click on "Print parts" (that's the multi-page icon on the top tool bar of the score). Print them as .pdf files and then go to Google Drive and upload the parts to the folder I've shared with you that has your name. Since you're uploading the score once you've updated it, I can print that myself, but I can't print the parts unless you send them in the way I've described above. In any case, please do this as soon as you can and in the meantime, let me know if you have questions. Almost done!

Best wishes,
Erik
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#4 Andrew Kim 2017-09-10 19:37
https://mflms-sbschools.learning.noteflight.com/scores/view/003c550dc4117d9930e218aaa3b7dd5ee4aeb880
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#3 Erik Nielsen 2017-08-23 10:27
Dear Andrew,
Thanks for doing all this. It was quite a list and you got just about everything. Just a few things left and then we can move to the final steps. Here's today's list:
1. There are a number of rests that can be combined into longer values. Here they are:
Bar 16: piano right hand: select the bar and hit delete (or backspace) and the two rests will become a whole rest
Bar 17, piano r.h.: change the two quarter rests to a half rest
Bar 43, piano r.h.: change the first two quarter rests to a half rest
Bar 51, piano l.h.: change the two quarter rests in a row to a half rest
Bar 53, cello: change the four quarter rests to two half rests
Bar 53 and 55, piano l.h.: change the two quarter rests in a row to a half rest
Bar 69, piano r.h.: select the bar and hit delete (or backspace) and the two rests will become a whole rest; in l.h. change the two quarter rests in a row to a half rest
Bar 71, piano: change the rests in both hands into a half rest

A few other things.
1. In bar 27 in viola I'd move the first two notes of the bar up one step (from A-G to B-A) to match the harmony. They clash with the piano and cello now.
2. At C the viola and piano are still playing f. I'd drop them to p for more contrast for this section,
3. Finally, at bar 62 you've given both viola and cello D on the downbeat rather than C# and it really clashes with the A chord in piano. Please move both down one step.

I know this looks like a long list, Andrew, but making these little changes ought to only take a few minutes and will really make a difference to the sound and effect of the piece. Once you've done that, re-post with a comment just like this time and we'll take care of final score prep. Please let me know if you have questions. Thanks. I look forward to seeing more soon.

Best wishes,
Erik
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#2 Andrew Kim 2017-08-21 20:34
Finally edited my piece!
https://mflms-sbschools.learning.noteflight.com/scores/view/003c550dc4117d9930e218aaa3b7dd5ee4aeb880
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#1 Erik Nielsen 2017-08-02 11:08
Dear Andrew,
I really enjoyed working with you last week. You have created an effective piece that is really fun to hear. I know this will be a big hit with the audience.
I have some follow-up comments. I'll do it in two stages. Today I'll tackle musical issues, then next time if there are none of those left I'll deal with score prep.
We dealt with most of the musical issues last time, but I have a few small note ideas and one larger suggestion. Let me deal with the latter first.

I think the music at letter C could be a bit gentler and more elegant and I have some suggestions for that. First, I'd mark the viola and piano down to p at C rather than mf. Second, in bars 31-34 in piano I'd suggest lengthening the chords as follows: bars 31-32 make all the quarter notes into half notes; bar 33 make the first quarter note a half note; bar 34 make the second quarter note (beat 3) a half note. This will make the piano sound less percussive and harsh-sounding. Try it and see what you think.
In the same section, in bar 35 I'd mark the cello at p, then at the pickup to bar 39 I'd mark the strings at pp. Also, in bars 35-44 I'd suggest giving the piano arpeggio eighth notes (p and then at the pickup to 39 pp) as a way of creating a very different sound and shadowing the cello part a bit. After all, the piano never plays anything but block chords the rest of the time. I'd also suggest you find a way to move the arpeggios between the hands and up and down over two beats, that is up-up-up-down (then new chord) up-up-up-down for one bar. I don't want to micromanage your piece, but try it out and see what you think. Just make sure you match the harmony of the strings in those bars. I would keep this up right through bar 44 then give the right hand two sixteenth note pickups leading to the main theme for the solo as you have it now, but with half notes in left hand rather than quarters with quarter rests in 45-48. I'd leave the right hand as is.

Whew, I know that's a lot to take in. Please ask if there's anything I've written that's unclear. Now just a few note issues. In bar 12 I'm not thrilled with the sudden octaves in viola and cello because it narrows the music down to a single sound rather than harmony. I'd change the last two beats in cello from C-A to D-C. The same thing happens in the second half of bar 16. I'd change the two cello quarter notes from G-B to B-D. Next, at bar 22 (rehearsal B) the cello whole note G clashes with the piano D chord for the second half of the bar. I'd change the whole note G to a half note and follow it with a half note A or a quarter note A, then B. In bar 25 I'd change the first two cello notes from A to D to avoid the octave with viola and I'd change the cello half note from G to B so it's not exactly the same as bar 29. In bar 27 the viola half note B doesn't match the D chord, so I'd change it to an A.

Not much left, I promise. In bar 56 the cello whole note clashes with the chord change in the second half of the bar, so I'd change the whole note A to a half note and move it up to a B for a half note on beat 3. In bars 61 and the first beat of 62 the cello and viola are playing in octaves but it doesn't bother me as it's the climax of the piece. But I'd drive both parts up to a C# on the downbeat of 62 for a more satisfying high point before they drop down again on beat 2. The piano chord on the downbeat of 61 makes no sense to me. But if you move both right hand notes up one step and the upper left hand note down one you'll have an E chord. Then I'd change the cello in 63 beats 1-2 to E-E. Finally (yes, finally) I'd move the first viola note in bar 70 up from A to E for a better climactic end to that little line.

Andrew, I know this is a lot. With eight students last week we didn't get to quite as much detail as I would have liked. Luckily, we have some weeks to shape all the pieces up to performance level, so don't try to tackle it all at once. Please let me know if you have questions and let me know what you've done when you comment back to me. I look forward to seeing a new revision soon.

Best wishes,
Erik
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