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no se preocupe, creo que ya le comente en otro video sobre la misma sonata que ya lo pude conseguir, gracias por su apoyo jaja

con gusto!, mandeme un mensaje a mi correo de gmail (abner.271107@gmail.com) y con gusto le comparto el archivo

lol spy music

thanks xd although checking it twice again I don't think it follows the bagatelle structure so I had to rename it as 6 piano pieces lol

Pd, pasa la partitura.

Agradezco de mucho corazón su comentario :D aquí le mando la partitura: drive.google.com/file/d/1vzUuKRZ0_QBftUG5AQ2FXvYof8ml9qex/view?usp=drive_link

pos es un arreglo de una canción folclórica, acá le puse su toque, por eso en el titulo no hice mención de que fuera una obra original ahí ta mi respuesta ante mi dedicación lol

thanks sir :D

cheers man! 🥂

"I am the one who modulates" - Walter White

Kapustin y Ponce son los que me inspiran a componer jaja

@@PencilMate_Schize_b Aguante Ponce 🗣️📢🔥🔥🔥

@@PencilMate_Schize_b vaya combinación!

real

I do plan to revise it again cause I think some scales feels exaggerated and welp also to moderate it with the difficulty lol

not sure why Liszt toned down that section in the 2nd version ;( he could have turned that material into something grand galol chromatique-esque, but somehow he truncated that section by quite a lot tho

Woa pretufapa is still alive, yah that passage got a pretty catchy rhythmical ostinato, maybe he toned it down for some musical maturity removing almost anything that makes reference of the rhythmical section in the humoreske idk, but he introduced an extended part of the Db maj variation with a repetitive grace notes part making it sound like a legit ringtone lol

nvm I just read the description.

Xd

liszt being liszt

Nerd

may I ask you what does "junque de junque" means?, kinda curious to know about lol

@@fredericchopin2593 that depends on the taste from the other people tbh

Exactly what I thought 👍

@@peterchan6082 feel free to email me (abner.271107@gmail.com) or you can send me your email and I'll share you the file :D

​@@PencilMate_Schize_bHey! I emailed you two weeks ago for the score and was wondering if you'd be able to send it 😃

@@douwemusic lol my apologies, I was pretty focused on composing quite recently that I forgot to read the emails from most of people, I'll share it to y'all, sorry for making you wait for so long xd

@@PencilMate_Schize_b How dare you make me, a complete stranger, wait for my free sheet music. Jk thank you so much for sending it 😄😄

well I only refered to the S.240 paraphrases only, of course I'm aware that there are a little more few versions based on this song, despite the humoreske being catalogued differently and even it makes a part from the transcriptions side of the collection (S.509) I decided to not to take it account since it is another whole different story, I also know that Liszt reused and orchestrated it for his theatrical piece Vor hundert Jahren S.347, also arranged for vocal as S.71. No need to be rude man idk what's the matter for this behavior :/

@@jackcurley1591 that is really based xd

Liszt is very Chopin

Very skibidi

​@@PencilMate_Schize_bwtf

What's the point of it? I mean, if Chopin had done this, we'd probably accept it as suitable without a comment. But Chopin wrote semiquavers in the left hand for this passage rewritten by Liszt, and I am just wondering why he did it. It may be a bit easier to play, but I'm sure Liszt didn't need to worry about making things easier to play. Probably Chopin's semiquavers are more effective. If you consider the three times this theme appears, you notice that the accompaniment is just quavers the first time, and quadruplets the second time (this time in E minor rather than B minor), and semiquavers the last time, with the faster accompaniment making for a good climactic ending. This is a good scheme, and I would not consider playing Liszt's version.

"a bit easier to play", I consider this to be slightly more harder that chopin despite the odd 5:3 polyrhythm and the ridiculous left hand leaps after it, and the point of this well this was one from the evidence that liszt also used to improvise on other people's compositons on his concerts however despite how structured the variant is with the quintuplets and left hand leaps you may expect liszt performing this passage in a very theatrical way like we can see portraited in some films, consider this passage to be a lot more powerful but the pianist here kinda thrown the power all away making it lack of the main power from the original piece being evoked in this variant, this may not be the cup of the for anyone else and they would prefer chopin's original passage but that is fine, I just wanted to share this curious variant since there was people who were expecting the closest thing we have from a chopin piece featuring liszt lol

Thanks

the liszt version kind of reminds me of early scriabin / rachmaninoff

very ballin

would you not play the octaves in the left hand ?

Liszt flex

@@depechezvous8864 I know that you're refering to his final vision on this melody, Gaudeamus Igitur - Humoreske

@@PencilMate_Schize_b Yes

that was a bit unbased but okay

that was a bit unbased but okay

That was a bit unbased but okay