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OK, Chris, my concern with exercise 4 is that instruments come in in a way that will rather point to their entrances rather than make them subtle and smooth.
The first oboe entrance, for example, is VERY strong. It will suddenly bring a huge change in texture to the line. Which is not what we are looking for with this exercise.
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"Those that know, do;
Those that understand, teach."
-Aristotle-
"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-
In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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