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For piano, violin, and cello; 14'
In 1996 my personal life was a shambles and my health was poor. With this as a backdrop, I spent many months trying to compose something for piano trio, but every few weeks I'd decide I couildn't stand it and throw it all out. After eight months I had nothing to show for all my work.
And then, one night, after listening repeatedly to a CD by “The Penguin Cafe Orchestra,” it occurred to me that it might be fun, possibly even therapeutic, to write a short, happy piece, after which I could resume my original project in what I hoped would be a more positive state of mind. What started as a diversion soon grew into a more extended composition, eventually compelling me to permanently set aside my original plan.
Much of Steppin’ Out is lighthearted, but it seems to touch on melancholy and even craziness at times.
It also features extensive use of ostinato figures (recurring patterns). The beginning of the piece is an attempt at musical humour; after a somewhat bombastic but brief intro, the repeated thirds in the piano go on for so long that you may begin to wonder if this piece will ever go anywhere. These are accompanied in the left hand by sporadic and rhythmically displaced “so-do” figures (a kind of musical cliché used to finish virtually every tonal composition ever written), as if the performer is just noodling, and has no idea what to play. Eventually, however, the real musical journey begins, and it usually maintains the pulsing rhythm from the beginning, although it undergoes a number of mood changes along the way.
You may need to be a bit patient with this one; it's starts slowly, and it's almost 14 minutes long.
As always, I will acknowledge all comments and I'll try to return the favour by commenting on something of yours.
In 1996 my personal life was a shambles and my health was poor. With this as a backdrop, I spent many months trying to compose something for piano trio, but every few weeks I'd decide I couildn't stand it and throw it all out. After eight months I had nothing to show for all my work.
And then, one night, after listening repeatedly to a CD by “The Penguin Cafe Orchestra,” it occurred to me that it might be fun, possibly even therapeutic, to write a short, happy piece, after which I could resume my original project in what I hoped would be a more positive state of mind. What started as a diversion soon grew into a more extended composition, eventually compelling me to permanently set aside my original plan.
Much of Steppin’ Out is lighthearted, but it seems to touch on melancholy and even craziness at times.
It also features extensive use of ostinato figures (recurring patterns). The beginning of the piece is an attempt at musical humour; after a somewhat bombastic but brief intro, the repeated thirds in the piano go on for so long that you may begin to wonder if this piece will ever go anywhere. These are accompanied in the left hand by sporadic and rhythmically displaced “so-do” figures (a kind of musical cliché used to finish virtually every tonal composition ever written), as if the performer is just noodling, and has no idea what to play. Eventually, however, the real musical journey begins, and it usually maintains the pulsing rhythm from the beginning, although it undergoes a number of mood changes along the way.
You may need to be a bit patient with this one; it's starts slowly, and it's almost 14 minutes long.
As always, I will acknowledge all comments and I'll try to return the favour by commenting on something of yours.
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scratch_harris
The wind is cutting at my cheek.
I gaze across this drifted valley,
all about the unmistakable smell of steam.
Fall stopped, the engine roars hope.
Back on board
the conducter reassures
"the shovels will do their job."
We take tea and discuss politics
and then we're off!
Back down the mountain till we're flying.