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Hallucination for piano

Classical/Contemporary • 2008
 
     
 

Hallucination for piano


12.00 USD

PDF, 7.55 Mb ID: SM-000060900 Upload date: 16 Mar 2011
Instrumentation
Piano
Scored for
Solo
Type of score
For a single performer
Publisher
Man-Ching Donald Yu
Language
English
Difficulty
Medium
Duration
13'0
Hallucination is a single movement concert piano piece. First, hallucination is the experience of seeing something that has not really occurred. Abundances of contrasting musical elements and contexts in the piece definitely well describe and suit this programmatic title in an illusive way.
The piece is delineated into several prominent sections and each section shows contrasting varieties in terms of pitch register, density, mood and gesture. The first section begins with a dyad in minor second and this intervallic nucleus becomes an important motive for developments throughout the rest of the whole piece. Following the vivid, angular and colorful first section, the contrasting second section emerges which is more slow, mysterious and dreamy in context. Soon, some of the textural fragments of the first section recur. These elements gradually build the music up to the first intense and climatic state of the piece. Also, some pointillistic, toccata-like and light gestures are merged and juxtaposed into the next section. This sort of toccata-like gesture serves as introductory elements for the developments of the next contrasting third section’s musical elements which are highly rhythmic oriented and energetic. Along with the third section, there is a rather lyrical and melodious chromatic section which follows the toccata-like section. These two attached sections become the central point of the whole piece from the piece’s structural point of view. As soon as this section ends, the next energetic and fantastic section occurs and it is deemed as an amalgamation of the first and second sections’ musical elements---vivid, dreamy, angular, energetic and crystal-like. Upon reaching several intense states of the piece, the first section and the third section eventually return with some modifications. The piece ends with passages of highly registered bombastic octatonic elements in different transposition levels.
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