Dear Laurence, I must say, your latest piece, "Sicilian Dragon," is a true delight to the senses! Allow me to gush for a moment-your influence is truly inspiring. From my perspective, I felt the overture carrying such a delightful mixture of joviality and whimsical antics that it immediately pulled me into its musical story. The interplay between the brass and the flutes is masterfully done-there’s a playful yet elegant dialogue that shines throughout the piece. Your ability to weave such vivid imagery through your composition is remarkable. The title, "Sicilian Dragon," intrigued me as well, and I couldn’t help but wonder if it might allude to the bold and intricate Sicilian Dragon variation in chess-a fitting metaphor for the vibrant interplay and dynamic momentum in your music. Whether a nod to this or not, the title feels as captivating and multifaceted as the overture itself. It’s a pleasure to hear your compositions as well as follow the patterned notation visually, and this one is no exception. Bravo, Laurence! I’m so fortunate to have a fellow creative spirit like you in my corner of the TH-cam universe. Keep up the incredible work-I can’t wait to see where your creative journey takes us next! Warm regards, //\/\\ //\/\\
Thank you for your kind comments and thoughts. There is a direct link to the chess opening. Looking at the chess board from Black's point of view, a common white pawn structure is pawns on h2, g2, f2, e4, (no d-pawn), c2, b2, a2. From this pattern is derived the initial theme in the oboe and flutes. At the same time, a characteristic Dragon pawn structure has pawns on h7, g6, f7, e7, d6, (no c-pawn), b5, a6, and this is played by the bassoons and euphonium, below the oboe theme. At 3:05 there is the March of the Pawns. One of the footsoldiers stumbles at first - that is the bar with five beats. Hope this helps, thanks again for listening, All best and good luck in art! Laurence
Dear Laurence,
I must say, your latest piece, "Sicilian Dragon," is a true delight to the senses! Allow me to gush for a moment-your influence is truly inspiring. From my perspective, I felt the overture carrying such a delightful mixture of joviality and whimsical antics that it immediately pulled me into its musical story. The interplay between the brass and the flutes is masterfully done-there’s a playful yet elegant dialogue that shines throughout the piece. Your ability to weave such vivid imagery through your composition is remarkable.
The title, "Sicilian Dragon," intrigued me as well, and I couldn’t help but wonder if it might allude to the bold and intricate Sicilian Dragon variation in chess-a fitting metaphor for the vibrant interplay and dynamic momentum in your music. Whether a nod to this or not, the title feels as captivating and multifaceted as the overture itself.
It’s a pleasure to hear your compositions as well as follow the patterned notation visually, and this one is no exception. Bravo, Laurence! I’m so fortunate to have a fellow creative spirit like you in my corner of the TH-cam universe. Keep up the incredible work-I can’t wait to see where your creative journey takes us next!
Warm regards,
//\/\\
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Thank you for your kind comments and thoughts. There is a direct link to the chess opening. Looking at the chess board from Black's point of view, a common white pawn structure is pawns on h2, g2, f2, e4, (no d-pawn), c2, b2, a2. From this pattern is derived the initial theme in the oboe and flutes. At the same time, a characteristic Dragon pawn structure has pawns on h7, g6, f7, e7, d6, (no c-pawn), b5, a6, and this is played by the bassoons and euphonium, below the oboe theme. At 3:05 there is the March of the Pawns. One of the footsoldiers stumbles at first - that is the bar with five beats. Hope this helps, thanks again for listening, All best and good luck in art! Laurence