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One Hundred Fifty-Two


paul f. page

 Genre: Piano

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A little piano number from my growing collection of such things.

The score can be found here:
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Song Stats
Hits: 1520
Comments: 21
Fans: 25
Plays: 103
Downloads: 17

Uploaded: Jan 16, 2016 - 11:35:30 AM
Last Updated: Jan 16, 2016 - 11:37:29 AM Last Played: Aug 10, 2017 - 04:04:00 PM
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Philip18 said 700 days ago (January 16th, 2016)
Beautifully played, Paul. I love the gentle flow of the melody. Thanks for the download!
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egobandit said 700 days ago (January 17th, 2016)
man you are just overflowing in beautiful arrangements , always love your playing
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Carrie71 said 700 days ago (January 17th, 2016)
Parichayaka said 698 days ago (January 18th, 2016)
Refined and beautiful
As always! As I am listening to this I am wondering if I ever asked what your process is? Do you sit at your piano with a pencil and paper, do you improvise and refine - play in midi and then pick and choose parts of an improvisation?

Some pieces of music have a grand name and fail to live up to it. Your tracks have nothing but a number, but lift you up to a nicer realm where the air is calm and life is perfect:)
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paul f. page said 698 days ago (January 19th, 2016)
How I work...
...The old-fashioned way: paper and pencil. Never use a computer. Never transcribe a recorded improvisation. Start with a motif (either/both melodic or rhythmic) and just let 'er rip. I write something every day. It's kind of like exercise: the more you do it, the easier it gets and the better you become. Thomas Edison once said, "Work. Work. There is no substitute for hard work." I think he was right on the money.
Check out my latest song called 185
Parichayaka said 696 days ago (January 20th, 2016)
How long does the process of writing take? You must be a wizard writing musical notation. Impressive on more than one level:)
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carbon said 697 days ago (January 19th, 2016)
thank you for this. delicate and delightful.
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Bowman said 696 days ago (January 20th, 2016)
The Artist
I see 152 giving voice to a silent film. I’m thinking of a recent Oscar Best Picture winner called THE ARTIST. Your music would fit so well and give such poignancy to a thoughtful gem like that.
Good to hear a new work from you Paul.
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Skean said 695 days ago (January 21st, 2016)
Thanks, now my soul fel peaceful again, be well.
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DWL said 695 days ago (January 22nd, 2016)
Racking up the numbers
but in such a classy way!

Beautifully done as usual Paul.

Thanks for the insight into your composition methods too!


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hackneybloke said 694 days ago (January 22nd, 2016)
i can hear a vocal going on over this.....really lovely arrangement....melodic but challenging on so many levels to keep it interesting. the production sound is stellar.....and the way you bend the phrasing is spot-on.
fantastic track paul.....you always manage to avoid the cliches that so many piano instrumentals fall foul of. that's a real talent......deep bows of admiration.
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elfdaughter said 693 days ago (January 23rd, 2016)
This beautiful, Paul. I just sat back with my eyes closed and let it relax me. Outstanding playing and gorgeous production sound.
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KCsGROOVE said 693 days ago (January 23rd, 2016)
lovely work
just beautiful...
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VicDiesel said 692 days ago (January 25th, 2016)
And counting
A lovely piece as always.

Reading along with the score I'm trying to figure out how you see the unity of this piece. There is clearly a unity of mood, but for instance there is no recurring theme of even a recurring key! On a microscopic level I see here that your use of chromatic notes (the C# in the first couple of lines) happens quite lot. Also there is a recurring 3 or 4 measure rhythmic motif.

So the piece sounds quite coherent, but I'm curious how you see this. How do you approach writing these pieces?
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paul f. page said 690 days ago (January 26th, 2016)
World's Longest Reply
Many of my piano numbers have a certain organic “feel” to them because I usually find a little motif or hook in the rhythm and melody that plays itself out throughout the piece. 152 has that motif in mea. 1 with the raised 5th (C#) of the tonic chord. That kind of thing repeats itself in mea. 2 in the bass, in mea. 5 in the bass, and so on. The whole opening begins again at mea. 9 in octaves, though it spins off in a quasi sequence in mea. 13 and 14 with the 8th-quarter figure. Mea. 18 starts with the opening motif again and then plays out in a downward sequence over mea. 19 to 22, the raised 5th coming again in mea. 23 (counting up from the bass A to F#. (That downward figure appears first in mea. 3 and is repeated over and over again through the number.) At the key change (mea. 25), that same raised 5th (A#) begins the section, the downward 8ths following in a similar pattern as at the beginning. Mea. 28 has that raised 5th again. At mea. 38, the treble and bass mirror each other’s descent, this time in quarter notes whereas previously they were all eighth notes. …and so on and on: motif, sequences, raised notes where one isn’t normally expected. At 66, a nine measure bridge leads to that downward figure at 74. Mea. 79 brings back the raised 5th (this time with a Bb above the D. I think mea. 84 — 100 could be considered an extended Coda of some sort. There is that downward mirroring going on at 84 and 94 and 98. Mea. 101 is the same idea as mea. 66 and leads to mea. 105’s little climax that is followed by a descending passage in both treble and bass. Mea. 111 echos the opening bar (though in the new key). Mea. 113 almost imitates itself, and the last two bars are just the last two bars.

I actually don’t think too much about any of this when I am writing because the music itself kind of dictates where it wants to go. All of it is quite consonant and falls easily into my own hands without difficulty (and I hope that’s the case for others, too). Most of my pieces are kind of miniatures that start with a rhythmic and melodic figure of some sort. Once that’s established, the rest flows pretty freely. I don’t much care for analysis, but when it’s applied, certain patterns in the compositions are revealed. There’s no way around it. I also do not tend to do much editing of my work except for phrasing and expression marking and such. I never “slice and dice” to fit some particularly-organized pattern. Seems like that would kill the music’s spontaneity. It was fun/interesting to examine this number, however, since I just never do that.

Check out my latest song called 185
VicDiesel said 690 days ago (January 27th, 2016)
You confirmed my suspicions of your approach to these pieces. I like the result.
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lyzak said 689 days ago (January 27th, 2016)
Your writing and playing here on MJ always seems to offer me clarity, peacefulness, some hopefulness and keeps me listening happily from start to stop.
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awigze said 681 days ago (February 4th, 2016)
I like the composition and the reflective quality to this. I could hear that there were some points where you could have gone into many directions which was effective and it kept my interest
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Hydrogen3 said 671 days ago (February 15th, 2016)
This is breathtakingly beautiful and very well played!! You are very very talented!
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Doug Somers said 664 days ago (February 21st, 2016)
Growing Collection
I could overuse the word sublime with so many of your compositions and in saying so now I've just contributed to its overuse. Still, this is like a restful lullaby only rather than putting one to sleep it is just calming and invites the listener to pay closer attention to the nuances and gentle sparkles here and there.

Thanks too for the explanation of your piece, not to mention your decision to so kindly publish your scores. There is always something to learn from others even whilst you can just appreciate the beauty of their work.
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MikeRobinson said 429 days ago (October 13th, 2016)
Generous Genius ...
In the end, the analysis is pretty simple:   “Genius.”

(Or if you prefer, Paul, “the skill that comes when XXX a natural genius XXX someone, for the pure love of it, does something every day for however-many years.   As the old saw goes, there comes a time when “you don’t know what you do know.”)

Nevertheless, you continue to be an inspiration to us all, and it is especially precious that you have very-freely given to the entire Internet the scores of now well more than a hundred of your works ... for the rest of us to pore over in astonished disbelief ...

There is no better way to learn than by example, and you have given so very many masterful examples to us ... freely ...

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Name: paul f. page
Location: USA
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