Takashi Yoshimatsu (Piano Concerto, Op. 67, "Memo Flora": MIDI скачать в хорошем качестве

Takashi Yoshimatsu (Piano Concerto, Op. 67, "Memo Flora": MIDI

► Download the MIDI File:   / discord   ► Watch the Original Video:    • Takashi Yoshimatsu - Piano Concerto 'Memo ...   🎹 Piano VST: VSL Synchron: CFX Concert Grand DAW: Reaper Visuals created using Keysight: https://store.steampowered.com/app/13... When I saw a lack of Synthesia videos for this amazing orchestral composition, I couldn't help but make one. I hope you enjoy. - As always, free MIDI in the Discord! ──────────────────────────── #pianotutorial #freemidi #concerto overall harmonic D major - chromatic mediant regions. D major reprise, with modal and whole tone inflections coloring the tonal centers, post romantic medal impressionist, sonata cycle, Theme A. diatonic melody in D Lydian (raised 4th - G#) presented dolce in parallel 3rds by the piano, accompanied by transparent strings. theme B. Sub subdominant G major with modal mixtures; built on quartal outlines (d-g-c-f#) giving the "floral" sound. right hand figurations, broken chord arpeggiation across four octaves per bar, alternating 6ths & 10ths lisztian but weightless feeling. left hand alberti-like patterning reinterpreted with 5:4 cross rhythm against orchestral pulses, which are very common in this song. the harmonies are very interesting, frequently mediant relationships D - Bb - f connected by common tone diminished 7ths. yoshi uses Lydian inflections. the signature floral color avoids functional dominant tension. although iin the development it passes through D Lydian - b Mixolydian - f Lonain via planing of quartal sonorities! :O using add 9 and add 11 sonorities voices across the orchestra like clusters of petals rather than tertian stacks.. lol see what I did there. anyways for the Coda, it builds on the D-pedal with oscilating triads D/e/f# - polychordal bloom. it ends up on con ped, a suspended I (with a 9th) resolution, in my opinion symbolizing the open blossom. the 2nd movement (II. Petals. 3/4 g major - e minor - g lydian. perhaps my favourite movement out of the song. The melody consists of pentatonic derived cantilena (g-a-b-d-e over extended quartal harmony. the harmonies are so interesting). the rh voicings are top melody voiced with 4th-finger singing tones, inner voices and they are gently arpeggiated. for the left hand, it's harp like arpeggios using polyrhythmic 3 vs 2 grouping across barlines. the pedalling is una corda - half pedal blending to maintain the resonance without blurring harmonic value in my opinion. more related to harmonies, it uses a chromatic mediant pivots.. g - eb - b - g via common tone augmented sixth interpretations. reinterpretations. many chords are added tone sonorities (maj 7 add 6 add 9) adding the "colors" to it. ocassionally parallel triads similar to Debussy but reharmonized with a 20th century Russian vibe? the orchestral winds sustain quartal clusters piano floats diatonic fragments over them, kind of sounding like drifting petals? this movement also reminds me of LIFE itself. really cool. beautiful. all that good stuff. The B section, (we're still in the 2nd movement by the way!) modulates to E miinor using Lydian - phrygian alternation, evoking a shifting sound. the figurations are RH trills and tremolos in 3rds, LH sweeping arpeggios, interplay of shimmer and motion! Then the A RETURNS!!!!!!!. Original theme returns in G Lydian (with C# as color tones.) the voicing inverts the melody in middle register, ending on unresolved quartal G-C-F# clusters, fading via harmonic evaporation. that concludes the 2nd movement. Movement III - Bloom. alternating 4/8 and 5/8 gives assymetrical rhythmic flow, like the blooming flowers perhaps?? The A Theme: bright d lonian melody, syncopated against 5/8. piano alternating between stacastissimo, pianissimo (which is quiet velocity) and using fare chords with rapid toccata runs in RH - quasi Prokofiev textures, although more modal than Prokofiev generally speaking. LH outlines the D-A-B-F# progression, implying lydian dominant color. B theme. Modulates to B major!!! chromatic mediant up a major third. Features a parallel 6ths and whole tone fragments, harmony moves by major third cycles D -?B - G - E - C - A - D forming a closed loop. hexatonic loop* The c section, cadenza like, uses a rapid figuration built on stacked 5ths (daeb, creating quartal harmony expanding outwards.