I’m sad at being unable to notate my own music at speed; ideas come to me swiftly and leave me almost as quickly. At the piano the other day, a dance in A-flat major (“double-stopped” thirds in the right hand and everything else handed to the left); just yesterday, a “Broadway-esque” fragment of thematic material (in changing time signatures) in B-flat major. Weeks ago, I hurriedly scribbled down a tragic idea in C minor halfway through English class (a great theme for “Heat Death 101” should we ever make it).
Comparing and contrasting the many works of Chopin, Rachmaninoff, John Williams, Joe Hisaishi, Michael Giacchino (there’s a trend that picks up after Rachmaninoff, I can tell), and Yuji Nomi is not a thankless task; I’ve learned so much from it that can’t be easily articulated (else I would write it down here immediately for posterity). There’s just so much to be done with music.
And just now, shenanigans for the pianist: trills or tremolos in the right hand and fast descending scales in the left. I have no shortage of technical trials and challenges for the bored second-fiddle pianist when the other instruments take the lead. I know what sort of things make me miserable; it stands to reason that I should be the most qualified to write and attack my own challenges for the piano.
I’ve pulled up some samples of tuba music (mainly accompanied by piano) for reference. This could be useful.