Thursday, December 12, 2013

Second movement — faux Bach

Or perhaps maux faux Bach. This happens after a brass fanfare on the head motive, because it's what I do. The second half here is a cadenza, and it's followed by a long, very slow fugato.

I believe that is Ranjith doing the meowing at the end of the excerpt, but I could be wrong.

Cadenza to WTF — two takes

When writing a cadenza for the pianist who taught you about stride, what do you expect to find in it?

Repeated notes, sure. Because that happened earlier. But …

Oh, what happens just before this? Duh, crescendo in the orchestra and sharp cutoff. It's another way I know how to end a section.

By the way — WTF is WTF? It's where, 40 minutes into the concerto, the piece starts again. That's what happens after Amy turned off the camera.

Third movement — H to J

Following on the heels of D to H, and due to the properties of the alphabet, the piece continues on apace. This time, what it doesn't mean is Hello to Julie! And here is where the sinister jazz somehow spawns a metric modulation (I've done that before, and so have other people), a texture change (string harmonics, rising wind gestures, and some other stuff), and soon … soon … there will be a passage for piano and celesta played at the same time, no waiting.

Mwa ha ha.

Third movement — D to H

Okay, I know you don't know what D to H means. It may as well be Dead to Him. But in this case, it's rehearsal letters, and it's in the I like to play jazz movement.

When first we come in, Amy is trading colors and licks with the winds, and since it's one of the few ways I know how to end a section, there's a big downward flourish. Because, uh, it's what I do.

And then it's the low sinister jazz music, which has a lot of repeated notes. Sorry about that, Amy.

This is, as always, provisional. And Amy is takin' names.

Tuesday, December 10, 2013

Second movement — take two

And here's the first stuff the piano plays in the concerto's second movement.

The movement is an elegy in memoriam Milton Babbitt, and begins with about three minutes of slow music in the orchestra, without piano. The piano takes a figure from one of the winds for its own sad music before it starts the speeding up process to the faux Bach part of the movement. Yes, the orchestra plays in the empty spaces there.

In the MIDI, this part sounds like horse doody smells. I'm glad we're not using the MIDI.

What happens in the orchestra after this? Why, a brass fanfare. I mean, duh.

Concerto opening — take two

Woo hoo! Here's the first three and a quarter minutes of the piano concerto in full HD res, with page turns, and a better camera angle. It's hard, and Amy nails it. Am I right? Am I right?

The orchestra "grows out" of the piano in this excerpt. Not an original concept by any means, but you know. At least it doesn't "grow tired" of the pianist.

What happens at the very end? Big, long chords in the strings, and fast figuration in the winds that slows down. And why? Because that's what I wrote.