Recorded the Mormorio etude last night, and then played the original version along with it. They’re together like clockwork. I have to say I’m really, really happy with this, just pleased as punch.
Tonight, I need to get home and do that a bit more so I can plot out how I want that bridge-thing to go. I don’t want to jinx myself, and given my track record at predicting what I’ll write next, I probably shouldn’t say this … but I hope I go through Haendel’s operas one at a time and do this to all of the intros, and anything else from them that appeals. It’s so much fun, and his music is so good.
I won’t complain. I like the etude.
By the way, when I said it was highly dependent on fingering, it’s the same way that speed-oriented sports are highly dependent on steering. One minor deviation, and it’s crash and burn time.
It appears that I’m turning out a fairly prissy etude instead. I don’t mind. It’s cute, I like it, and I think it might work nicely as a cello etude as well, with the left hand removed and everything dropped 19 octaves or so. It’s a bit hard: presto and with right hand work that’s highly dependent on fingering. But I’m enjoying myself.
Yet I am no Boogieman, at least for the moment. We’ll see what happens, but for now I’m not going to try to predict what I’ll write next. I’m never right.
I want to do the next arrangement of “Mormorio” as a boogie. It’s just so fun. I need to chase down some good bass lines other than the basic one.
ETA: A couple are here.
Walking bass lines … a few more (very helpful, thanks oldbob!) …
Rondo Capriccioso Op. 14 (Felix Mendelssohn)
Ududo Nnobi/Amalachukwu (Igbo traditional)
Elite Syncopations (Scott Joplin)
You’ve Got to Be Modernistic (James P. Johnson piano roll)
Death Ray Boogie (Pete Johnson)
Johnny B. Goode (Chuck Berry)
Sweet Little Angel (Journey, with Albert King, Luther Allison, and Jerry Portnoy)
Sledgehammer (Peter Gabriel)
And so on. I lost interest in the branch after that point.
You’ve Got To Be Modernistic
Bleeding Hearted Blues
You Can’t Do What My Last Man Did (ouch)
Harlem Strut — WOW
Stephanie Trick being amazing
One foot in ragtime, the other in jazz. Ragtime with a more Baroque sensibility, less Romantic era. Amazing, just amazing.
I spent all last night noodling some of the nastier bits in that jazz arrangement of “Pompe vane di morte.” Not in a composey frame of mind lately. I’ll use the opportunity to woodshed some stuff.