I seem to be writing something that assumes, to an extent, that the pianist has three hands. Not that it’s very hard or anything, it just bounces things around among SATB with very little regard for the fact that the piano only uses two clefs. I’m not sure that another pianist would appreciate that much, having to track where the dominant voice is as it ping-pongs around. Dynamic markings will probably be more important on this piece. (Shit. I hate putting them down. It’s like marking facial expressions on a script. >_<)
I think I've officially been listening to Jeff Schmidt too much lately. (And Rachmaninoff.)
I really want to work on arranging a couple of Schmidt’s pieces, specifically “Apotheosis” and “From Under the Weight of Knowing,” but I keep prioritizing my own things ahead of them, which is as it should be. Nevertheless, these pieces continue to nag me. I especially can’t listen to the last one without feeling like my hands want to bounce around. For anyone who is interested, visit his download page at TradeBit and grab the Outré CD. It is truly worth it. He also bounces things around between voices and in a very unique way since he plays “over the bass” (right-strung guitar played with left hand) and hence the lower voices in his work carry a lot of the load.
For my own piece, I am piddling with it at a snail’s pace like I always do, and am not at all confident in the thing. I’m also very concerned that I’m just rewriting the last six-flat piece I did, so I’ll have to sit down and give that another listen to make sure it’s not blatant. A few similar chord progressions are one thing, but I don’t want to rip my own self off, here.