Quote:
Originally Posted by wayne-scales
Better? I couldn't find your version of it!
I also neglected to say, thank you very much for all the work and time put into the lessons and especially for being so patient with such a slow learner!
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ok, I'm examining your second realization now.
measures 1-3: the clarinet and bassoon has a nice sound in unison.
measure 4: the oboe now replaces the bassoon... however! I undertand that they are both double-reeds, but the oboe's sound is considerably clearer and brighter. There will be a relatively strong shift in texture when you hand off from the bassoon to the oboe.
measure 5: DO be careful about the sudden entrance of a new timbre AND a new register. Here you're bringing in the flutes (non-reed instruments, very crystaline sound) which are a new timbre, AND you're also adding a new register element (the 1st flute is one octave higher than the melody has been until now).
you might, for example, have considered using the 2nd flute from the very beginning, in its lower octave (weak register). Its sound would not ahve dominated the timbral mixture, however, it would at least be present for when you add the 1st flute later on, without causing a sudden timbral shift.
measure 6: again, a lone flute and oboe is VERY thin for the beginning of a crescendo.
Notice that at measure 7 flute 2 is in its very weakest register? It won't be adding substantially to the density nor timbre of the sound.
measure 8: AHA! there is no diminuendo. So why are you orchestrating one? Technically, that entire measure should be forte to the end.
Over all, I'd say be careful about so freely using unisons of same instruments. It's not in any way an error, but it's not something to which you should resort as a first choice in all situations. So I've seen lots of bassoon unisons and clarinet unisons in your realizations. From now on, let's keep those for very special instances.