This is nice. I especially like the note "changes" between G-sharps and A-flats in bars 2, 6, and 18, although I'll just have to take your word for it that these spellings make harmonic sense. Perhaps Eddy will comment. Is there a misprint in bar 18? I suspect the middle one of the three A-flats should really be a G-sharp, as it is in bars 2 and 6.
Is the player expected to improvise the tempo changes? The ones you make in the recording are lovely, and sound as though they "belong", but if they belong, they could do with being marked in the score.
Another thing the score could do with, assuming the way you are placing the accents in the recording is the way you intend them to go, is instructions on how to do this, again instead of the player being expected to guess. The fashionable way to do so is by using an appropriate time signature. You have notated this piece in common time, i.e. 4/4, but there are only two bars (4 and 20) which actually are in 4/4. The rest of the piece is in compound 8/8, with three beats to each bar, usually as (3+2+3)/8, but sometimes (3+3+2)/8, and it would be advantageous to notate it in this way, and to beam the 8th notes in threes where appropriate, and not always in twos.
Thanks for the feedback. The enharmonic spellings in 2 don't really make sense, the top in the tenor should all be a flats, to simplify the reading process. Maybe Eddy will comment, or he has given up on trying to teach me!
Well about measure 18, I played it back in my editor, and they sound exactly the same. Of course when there is one accidental the rule is to play it that way later throughout the bar, so though my program has the wackiest default spelling coding, those measures should sound actually the same.
Yes, the player is expected to improvise tempo changes, but, it isn't clear how that should be done. Presto also would be a nice place to start for tempo. Listening back, I think I play this way too slow. Really, it should be twice as fast.
Thanks for your compliment, I tried to imitate a little of what Chris did in his recording, but.. he doesn't slow down as much as I do
This is how I phrase the piece in my recording
1 - 4
5 - 8
9 - 12
then each measure is it's own phrase 13, 14, 15, 16
17 - 20 (with no ritardando on the ending)
Interesting you would set this as 8/8. IT's worth mentioning that the original Littlehorseman is in 3/8. So the 8th note should get the pulse, for a more driving jockeying effect (no pun intended
). So for a rewrite, i'd notate it 8/8 .
It's cute! Definitely sounds like a little horseman. I think it would enhance the sound if you brought out the lower LH notes a little more.
Thanks for listening. I thought I played the left hand at an OK volume, but thanks for pointing this out. I wanted the double note melody to come out more (like in Tchaikovsky's Op. 72, no. 8, but with this type of music, it seems like the melody can't really get much attention, as it's almost just like an chordal piece, where the music marches along and not with traditional accompianment and melody like a Nocturne.