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Topic: Nocturne - C# Minor (GPO Steinway)

  1. #1

    Nocturne - C# Minor (GPO Steinway)

  2. #2

    Re: Nocturne - C# Minor (GPO Steinway)

    Very nice and beautiful. Thrilling harmonic development. I like that sudden change to major at around 1:48, reminds me of Beethoven's Moonlight, also in c sharp minor.
    Good work!


  3. #3

    Re: Nocturne - C# Minor (GPO Steinway)

    I to liked the shift around 1:40. I appreciated right hand melody, shifting into two note, thee note harmony. Ending was smooth, surprised me a bit.. very nice.

  4. #4

    Re: Nocturne - C# Minor (GPO Steinway)

    A lovely light piece with a beautiful piano.
    Well done, although I would like to hear some variation in the left hand (arpeggios are very nice, but seem to go on forever). Apart from that, I enjoyed your Nocturne a lot!


  5. #5

    Re: Nocturne - C# Minor (GPO Steinway)

    Nice piece, indeed. With a bit more variation in the left hand this would be a lot better. But the melodyline is great.


  6. #6

    Re: Nocturne - C# Minor (GPO Steinway)

    Hi guys!

    I rarely post anything anymore, but every now and then something materializes that seems like other listeners / composers might enjoy.

    So, thanks for giving a listen and dropping a quick note.

    Let's see, the B section actually modulates up a fourth to the key of F# major, i.e., adding two sharps. The prior sections ends on C# minor, but as the B section approaches, the minor third in the left hand is replaced with a ninth while the right hand plays a very quick E#, but that is enough to establish a C# major chord. So essentially, the music passes through the parallel major, C#, which then acts as V to the new tonic of F#. (NB, At first I analyzed this as modulating to B major, but on second thought, it sounds more like F# major to me. However, since there are no V7 chords modulating to or within the new key, it really is a bit ambiguous, and, as with many analysis scenarios, the F#-B progression in the new key could be heard either way, V-I or I-IV).

    The left hand is, indeed, continuous triplets, and any variation is entirely harmonic. I like to think of it as an accompanying rhythmic ostinato, as the focus here is more on the melody, though there are the occasional left hand pauses on the second beat to help break things up a bit.

  7. #7
    Senior Member fastlane's Avatar
    Join Date
    Nov 2004
    Shelton, Washington State

    Re: ewellNocturne - C# Minor (GPO Steinway)

    Well, this was worth posting for sure!

    Interesting moods in this piece and structure. I could imagine a late at night continental lady of taste standing next to the piano with a drink in hand and a far off look to her face.


  8. #8
    Senior Member rwayland's Avatar
    Join Date
    Jun 2004
    California Redwoods

    Re: Nocturne - C# Minor (GPO Steinway)

    Quote Originally Posted by DarwinKopp View Post
    Well, I just found this today. Spotted your name and knew I must listen. It is quite beautiful. I would not change a note. I would consider altering the balance. The bass seems a bit loud in many places. Perhaps also, it needs to be more sostenuto, or requires some pedal work. However, as it stands, it is haunting, captivating, and lovely.


  9. #9

    Re: Nocturne - C# Minor (GPO Steinway)

    Hi Phil,

    Sometimes I write to a narrative, but in this case I didn't. But as I listened to the playback, it started sounding like someone raging against the night (almost operatically). Still, there are moments where the moon appears between the clouds and then suddenly the stars appear, so it's not all bad!

    Hey Richard,

    Glad to so many of the ca. 2004 posters still around! The left hand is actually substantially softer than the right, but as I play and record everything with headphones, it's no doubt the balance is sub-par on speakers. Also, the sustain pedal is used throughout, but only on the left hand, which I now realize is probably not technically correct, though it does help keep the melody clear. Thanx for the f/b!

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