Delacroix

Owen David · February 01, 2026, 02:36:00 PM

A new piece from me...Quite a recent composition. I'm thinking it might suit a cello line as well - make it a piano-cello duet. Mostly in the mid to low range of the cello but with occasional forays up into the higher notes.Any thoughts on that?

https://owendavidmusic.org/2026/02/01/delacroix/

maticevska · February 01, 2026, 02:43:14 PM

Very lovely, although this smells a little bit more like triple time than duple.

Owen David · February 03, 2026, 06:28:45 PM

Thanks Maticevska - I'm glad you liked it.

You might well be right about triple rather than duple...I did ponder 3/4 but to me it just felt like I was hearing six beats not three. But it couldn't be 6/4 (as opposed to 6/8) or else the BPM would be wrong. I have used a half-note (rather than quarter note) BPM before now. Maybe that would be the right solution - 6/4 with a half-note BPM?

maticevska · February 03, 2026, 06:32:17 PM

6/4 and 6/8 are still duple. Do you hear each bar as divisible in two halves?

Florestan · February 04, 2026, 02:42:09 AM

Why this title?

Owen David · February 04, 2026, 04:57:03 AM

Quote from: Florestan on February 04, 2026, 02:42:09 AMWhy this title?

A good question lol. I've had some tellings off recently when I cite particular musical forms in titles (for failing to meet exacting definitional standards)...and on the other hand I don't particularly like dictating what is expected of the listener by referencing an emotion or something specific in the title. So I thought I would simply honour someone whose work I admire especially as I like the sound of the name. Even though I do admire his work I think though I somehow got him confused with Courbet whose painting "Good Morning M Courbet" I especially like. I am going have to make good the deficit at some point.

I don't know whether the title inspired your interest or your annoyance but, either way, that's the story behind it!

Florestan · February 04, 2026, 06:03:51 AM

Quote from: Owen David on February 04, 2026, 04:57:03 AMA good question lol. I've had some tellings off recently when I cite particular musical forms in titles (for failing to meet exacting definitional standards)...and on the other hand I don't particularly like dictating what is expected of the listener by referencing an emotion or something specific in the title. So I thought I would simply honour someone whose work I admire especially as I like the sound of the name. Even though I do admire his work I think though I somehow got him confused with Courbet whose painting "Good Morning M Courbet" I especially like. I am going have to make good the deficit at some point.

I don't know whether the title inspired your interest or your annoyance but, either way, that's the story behind it!

Got it, thanks. I was simply curious.

Owen David · February 07, 2026, 06:37:14 PM

I think what I was hearing as a composer was FOUR and TWO - which I guess I made 6/8 otherwise I'd have to change the BPM measure to a half-note measure which I've used myself before but isn't very much seen.

These things are only pragmatic conventions.

Do I hear the six eighth-notes as duples of three? No I hear them as four eight-notes followed by two eight-notes. I guess I could have scored it as 4/8 followed by 2/8, alternating throughout the piece but that would be messy. So do you think it should be 3/4? If so, how would you express the BPM?

Quote from: maticevska on February 01, 2026, 02:43:14 PMVery lovely, although this smells a little bit more like triple time than duple.

Quote from: maticevska on February 03, 2026, 06:32:17 PM6/4 and 6/8 are still duple. Do you hear each bar as divisible in two halves?

maticevska · February 15, 2026, 05:00:13 PM

Quote from: Owen David on February 07, 2026, 06:37:14 PMI think what I was hearing as a composer was FOUR and TWO - which I guess I made 6/8 otherwise I'd have to change the BPM measure to a half-note measure which I've used myself before but isn't very much seen.

These things are only pragmatic conventions. Do I hear the six eighth-notes as duples of three? No I hear them as four eight-notes followed by two eight-notes. I guess I could have scored it as 4/8 followed by 2/8, alternating throughout the piece but that would be messy. So do you think it should be 3/4? If so, how would you express the BPM?

If you think it should be 4/8 followed by 2/8 that would be a much clearer way of expressing to the musician how the beats and pulse should be felt, although I don't know many pieces which have that alternation without instead just using a longer bar (3/4 in this case) whereby you can just write a small performance note to say that the piece should be felt more in terms of quavers pulses (ONE two Three four, ONE Two) rather than crotchet beats (ONE two Three).

Mandryka · February 16, 2026, 03:28:21 AM

Quote from: Owen David on February 04, 2026, 04:57:03 AMA good question lol. I've had some tellings off recently when I cite particular musical forms in titles (for failing to meet exacting definitional standards)...and on the other hand I don't particularly like dictating what is expected of the listener by referencing an emotion or something specific in the title. So I thought I would simply honour someone whose work I admire especially as I like the sound of the name. Even though I do admire his work I think though I somehow got him confused with Courbet whose painting "Good Morning M Courbet" I especially like. I am going have to make good the deficit at some point.

I don't know whether the title inspired your interest or your annoyance but, either way, that's the story behind it!

The town bourgeois speaking to the wondering Jew

The music reminds me of a Howard Skempton vibe maybe, but Skempton's often darker, more complex rhythmically an harmonically

https://www.youtube.com/watch?v=TZGwmVmLgRQ