Original Piano Composition | Valse Joyeuse

Описание: Valse n.12 - "La Valse Joyeuse"

Lovely little song, similar in style and tone to the 'Valse Dansante', same key too!

This piece is a perfect example of my current style at its best. Short and memorable with a balanced structure.

To illustrate I labeled the sections. (0:05) 'A' is the main theme. Upbeat Bmaj melody characterized by both a melodic and rhythmic pattern. 'A' is first displayed in its basic form to open the piece. We then have 'A2' (0:16). This takes a slightly darker tone, going to Eminor to conclude to Bmaj's relative minor - G#minor. The reason it's 'A2' is that it maintains the same rhythmic pattern of 'A', being really a variation on 'A'.

I then go back to 'A' (0:38), this time only adding octaves, re-establishing the main theme. The restatement of the main theme in octaves being something I've done since my very first compositions. I follow with another restatement of 'A2' (0:48), one octave higher, with the second go around being slightly altered.

'A2' being in Eminor, leads into the following passage 'B' (1:10) which uses the Eminor to transition to its relative major - Gmajor! This passage is one of the most fun to play! This is 'B' proper as it has its own melody, and its own rhythmic pattern. Different, yet remaining similar. 'B' section culminates back into the dramatic transition from Eminor to G#minor, leading back into the 'A' section.

Here is 'A prime' (1:47). It is the same melody as 'A' but stated in a flurry of 8th notes instead of the typical dotted rhythm that has punctuated the piece thus far. Brings a refreshing texture to a now well iterated melody. This is repeated twice, until the 8th note texture switches to the left hand bringing us to sections 'C'.

'C' (1:57) was the toughest to implement correctly. A lot of trimming had to be done to avoid it overstaying its welcome. This section stands very much apart from the rest, abandoning the classic left-hand valse pattern characterized by 1-2-3 rhythmic current, to a dotted quarter note pattern which emphasizes more of a 1-2 rhythmic current. 'C' section continues the 8th note texture introduced in 'A prime' while adding a new melody that marries very well to the overall tone of the piece.

Finally (2:41), we culminate back into a restatement of 'A', this time 'A double-prime' which changes nothing in the right hand, but combines all the harmonies from the left hand under the original melodic line. This is something I began consciously applying since 'La Valse Violette' - where it's used to great effect, and in the very same way in the final restatement of the theme. Anyways, leaves an awesome conclusion that tails in the arpeggiated Bmaj7 chord.

Let me know what you think! Thank you to 'Aeshetes ID' for the opening photo. And as always, if you're interested in the sheet music, ask me at [email protected].