Piano Answers

my composition…
My composition is called, “Come Back”, it is an acoustic instrumental in the key of A minor & has a time signature of 4/4 but also moves into rubato or “free time”.
I recorded myself playing the piece on the acoustic guitar with no other instruments.
“Anji”, a song by David Graham has heavily influenced this piece.
David Graham was a British guitarist & one of the most influential figures in the 1960’s British folk revival. He inspired many famous practitioners of the finger style acoustic guitar, such as, Bert Jansch, John Renbourn, Martin Carthy, John Martyn, Paul Simon & Jimmy Page.
Graham is probably best-known for his acoustic instrumental, “Anji” which he wrote at the age of nineteen, & for his pioneering use of DADGAD tuning, which was later widely adopted by acoustic guitarists.
In the first section of my piece, the guitar strums through A minor chord, G note, F note and
E chord. This is repeated three times & the final time end with a broken chord sustained on E.
The second section of my composition is a fingerpick of the first part which is played twice in the time of 4/4 which keeps it in the same pace as the first section.
The third section of my composition is another fingerpick part which is a small stylized motif on the A minor chord, (which has a dynamic marking of piano) which highlights a technique known as a hammer on & pull off. This section is ended with a roll on the E chord which has a crescendo build up to forte.
The fourth section is a variation of the second section which is played twice, again in the time of 4/4.
The fifth section is a run on E Phrygian which reminds me of a Spanish flamenco dance piece in which rubato is used & shows great expression of intensity & suspense.
The rubato interpretation is used quite heavily throughout my piece, creating my own style of the flexible rhythm moving through the fusion of two different genres.
This follows with a short refrain on the E Phrygian, descending & continuing the same dynamic as the previous section.
The next two sections are exact repeats of sections two & three, this leads into another run on E Phrygian which is the same as section five.
The next section (eleven) introduces a new motif where there is use of double stops with an ascending semibreve movement. This kind of pattern would normally be played in a descending order but I chose to play the reverse as I thought it added to the Spanish (Phrygian) feel of the piece.
Keeping in line with my reversed motif, I decided to end my piece as it began, with the second section leading into the first & ending on a broken chord, sustained on A minor.
THANKS

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