Yeah, it wasn't written in counterpoint at all, so I couldn't do my "weaving" at that point. I was just doing my usual ear exercise, which is to re-create a melody by complete memory. I am really learning to appreciate the cello as a VERY versatile instrument section, which is what the noodling went to. Without contrapuntal construction, the "neat" melody left me hanging. There is a second melody, but only the horns use it to comment on things. One thing led to another, and by the time the whole horn ensemble came in, I started noticing a little "buildup".
I normally suffer pitifully trying to raise tension and release it credibly, and when the horn melody startd doing it, I just "went" with it. That little "trill" started becoming (accidentally, lol) some kind of foreshadowing as long as I didnt over use it, and as it regularly occurred it became a kind of secondary theme alongside the main melody.
stuck for an ending, I realized the building horns could sudddenly pick up the main melody for the end. Then, I'm like... "aw, MAN, its almost there, what now" and i KNEW I wanted one of those "dah-dum-dum!!" jarring things the real composers used... it suddenly struck me that since the horns never DID the recurring trill all thru, the whole orch. could do the trill at once to finish up.
*shrugs* Then, trying to get a couple minutes out of this big accident, lol, I kinda ripped off Hall of the Mtn King's beginning (the soft spiccato beginning? Sorry Grieg... you can smack me when I get there in a couple decades, LMAO)
that led to the soft/heavy/soft/heavy thing near the end... additively used the spiccato for slight emphasis here and there...
That trill-weaving right before the ending was an accidental "paste" that was okay... but, lacking anything even remotely contrapuntal, I had to pinch it off before I would be accused of sledgehammring the listener with the main melody, LMAO
I was surprised how much I liked it when it was done, I wish this accident had happened in a real counterpoint piece, so I could have done more, but... it was one of those rare exercises that I take a couple lessons from.
building with the horns, the soft/heavy/soft/heavy thing, and the recurring trill-theme turning into the "bum-bah-bum!!" ending.
Eh... basically, I guess I polished a turd to a "high glossy finish", lmFao....
This piece and "Louisa" (if you remember it...) seem to form the 2-track basis for a classical demo CD, if I can pull off 1 or 2 more decent classical pieces.
Classical composition was always somethign I wanted to do, but couldn't figure out HOW... curiously, its getting easier to work with than "guitar-bass-drums-piano" rock and soft rock stuff, LMAO. Also, this modified harmonic minor thing is working out quite well. My treasured Pentatonic minor scale is IN THERE, but I have a couple other notes to work with/around too. My ears are telling me the pent notes are the "strong" notes, and the couple others are the weaker notes. Seems to make for a give-and take rocking or rolling sensation, where all my pent stuff was all strong notes.
Ah well.
PS - I DO have a last pentatonic piano piece, that I was able to maybe pull off the "velocity" thing you always bring up. I'll post it up, its not too long. I'm working on my next piece, that should tide you over.
