Concerto for Saxophone in G minor

Hello,
This is the first large scale work that I have ever created. Since the instrument that I started my voyage into music with was the alto saxophone, I decided to write a concerto for the instrument. I had many original themes stuck in my head in the months before I wrote this piece, and they all had the saxophone playing, so I decided to write a saxophone concerto.

The concerto is scored for 2 flutes, 1 oboe, 1 english horn, 3 clarinets in Bb, 1 alto saxophone, 3 french horns in F, 3 trumpets in Bb, 2 trombones, timpani (G,A,C,D), and full orchestra.

The first movement's theme can be compared to anger, frustration, and repetition that was in my life at that time.
The second movement can be compared to the innocence and simplicity of life
The third movement's theme is not as dark as the first movement's theme

Please forgive me, but I dislike modern and impressionistic music. The saxophone has traditionally been implemented in these styles, but I wrote the concerto in traditional sonata form and I gave the saxophone a traditional-classical role in the piece.

I hope you like it and any feedback (even negative) would be appreciated!

Here is an updated version of the MIDI. The original recording was a wrong version.

Well, I just heard your first movement, Very nice, but It sounds a little jumpy at some parts.

thanks for the input. considering the midi though: a real saxophone sounds nothing like the midi version. There are no breaks in volume or tone at any level (except for altissimo), and the midi isn't really expressive. However, I do like the orchestrative balance that the midi gives.

Mvt 1. This is really neat! Though it is mostly Classical, I like the slight Romantic and Baroque influences. Very nice and melodic. However, I think that there is a tad bit too much tutti. Maybe more subtle areas could vary the piece a little more. Good job!

Great work. Not having composed orchestral-scale yet, I'm not really one to give you great tips about improving. I do think, after reading Jair's post, that I could have used a little more solo development of the melody ideas, but perhaps there were times that you had solo sax w/ orch and the balances were just off on the midi, making it sound like tutti. The solo spots I did hear were very natural, yet restrained and classical.

Other good classical elements from what I could tell; the contrasting phrase ideas within sections that I noticed worked well together. Bravo also on overall structure.

The theme's treatment throughout was also good. 4:15 had a very nice broader rhythmic feel, and I liked the surprise at 5 mins., with the energetic tutti following
Keep it up.

Thanks for your input. I would appreciate it if you could put up comments on the other 2 mov. as well. Could you try listening to the whole thing at once... please? I just think it will be easier to critique that way. I do value your opinion. A lot. Thank you!

Mael,
I said I'd listen last night. Forgive me; my connection was slow, and I didn't have time to even get my thoughts on the 2nd movement posted. Now, however, I'll post my comments after listening to the entire piece from beginning to end.
Overall:
Your use of melodic material was very solid and certainly contributed to the cohesiveness of each movement. Also, there were points where I especially took note of strong writing for each orchestral section--winds, brass, strings, even perc--which gave your orchestration a balanced, satisfying feel. Kudos!

I. Mvt. 1:
A. Praise:
-Intro had good tension and set up the entry of the soloist well, implying the stormy mood you described
-The phrase extensions (1:58-2:03, for example) lent a natural direction to the sections in which you used them
-Regarding orchestration, the pizz. section at 3:02 was very effective, and 4:40 had a nice counter-melody. I also liked the lively accompaniment line at 3:30-47.
B. Some thoughts:
-Some harmonic progressions, as I said before, struck me as not only unconventional, but slightly unconvincing.
They just didn't draw me along through the sections--kind of seemed "meandering." I would suggest you check to make sure that YOU sense the direction, ie, that they're backed up with YOUR "intention," if not by normal "convention."
-The last chord seemed anticlimactic. I'd say just let the sax climb up and land with an orchestra downbeat--no 2nd orchestra chord. Just my opinion; particularly becuase this is just the 1st movement, you don't need to over-emphasize the finality of the ending.
-I wasn't totally "sold" on the idea of the sudden solo trumpet figure between the sax solo and big tutti at 4:05-ish. Might you add another voice/some melodic interest there?
II. Mvt. 2:
1. Praise:
-The bass movement at the beginning (repeated 1, w/ occasional 7th), was very stylistically appropriate, in my opinion. Good ear!
-At 2:75, I liked the woodwind's and sax's intertwining lines. The following string entry with the previous theme was masterful.
-4:55--another good setup of the solo entry, using brass this time
-The ending was very poised and quintessentially classical. *breath of fresh air*
2. Thoughts:
-Though the beginning melody was very nice, providing a nice introduction to the contrasting movement, the sound of venturing very briefly into another key (at the end of the 1st phrase) and then jumping right back might not be best. If you want to do that, maybe start the second phrase in the same "key-feel" and then get back to where you started by the end.
-at 4:20, I don't think a complete release of energy works best. Consider that you've already dissipated the energy you'd built up by having the orchestra drop out and continuing with the sax line. I think if you connect the end of the sax solo with the section after 4:20, you'll get continuity and still achieve the relaxation into the original mood.
III. Mvt. 3:
1. Praise:
-the 12/8 feel provided good energy that helped the final movement
-at 6:15, letting the orchestra and sax play off of eachother gave some nice forward motion
-Good use of melodic fragments to accompany the sax at 3:20
*Off-topic comment: I actually thought the theme here sounded slightly darker than the main theme (introduced in the 1st orchestral tutti) of Mvt. 1 (not the intro: that had definite angst). Just thought I'd give you my opinion. The first sounded more declaratory, whereas this conveyed more agitation, in my mind.
2. Thoughts:
-at 5:37, as I said with the 2nd movement, I would not allow for a total break in the sound. I think you could simply overlap the last chord of the brass with the entry of the energetic perc./sax section. "Phrase elision/melds" sometimes even cause the last measure of one phrase to serve double-duty as the 1st phrase of the next. You'll just have to decide if you really want to set the next section apart, or if you'd rather connect things.
-Your recap was great after 6:50, but I was totally caught off guard by it. Could you build up a little more anticipation and "set it up?"
-Perhaps the end of THIS movement would be the place for an extra chord, in lieu of the one at the end of the 1st movement.
-One final word about the harmony. I again felt that the dissonance at 2 mins. was a little too sudden. Also at 4:17; these spots seem to break the general "frankness/candor" of the classical harmony you've employed elsewhere, if you understand what I mean by that description. I would just encourage you to take another look and consider what would be within the bounds of the "neo-classical" style you're shooting for and what would sound out-of-bounds.
For never having written a piece of this magnitude myself, I certainly ventured to say alot! Let me reiterate the commendable job you did in capturing some classical rudiments on which to found the piece and still making it your own. The piece had some very enjoyable moments beyond the overall energy that kept it from becoming stagnant and monotonous.
Glad to listen!
Brooks

Mael,
I said I'd listen last night. Forgive me; my connection was slow, and I didn't have time to even get my thoughts on the 2nd movement posted. Now, however, I'll post my comments after listening to the entire piece from beginning to end.
Overall:
Your use of melodic material was very solid and certainly contributed to the cohesiveness of each movement. Also, there were points where I especially took note of strong writing for each orchestral section--winds, brass, strings, even perc--which gave your orchestration a balanced, satisfying feel. Kudos!

I. Mvt. 1:
A. Praise:
-Intro had good tension and set up the entry of the soloist well, implying the stormy mood you described
-The phrase extensions (1:58-2:03, for example) lent a natural direction to the sections in which you used them
-Regarding orchestration, the pizz. section at 3:02 was very effective, and 4:40 had a nice counter-melody. I also liked the lively accompaniment line at 3:30-47.
B. Some thoughts:
-Some harmonic progressions, as I said before, struck me as not only unconventional, but slightly unconvincing.
They just didn't draw me along through the sections--kind of seemed "meandering." I would suggest you check to make sure that YOU sense the direction, ie, that they're backed up with YOUR "intention," if not by normal "convention."
-The last chord seemed anticlimactic. I'd say just let the sax climb up and land with an orchestra downbeat--no 2nd orchestra chord. Just my opinion; particularly becuase this is just the 1st movement, you don't need to over-emphasize the finality of the ending.
-I wasn't totally "sold" on the idea of the sudden solo trumpet figure between the sax solo and big tutti at 4:05-ish. Might you add another voice/some melodic interest there?
II. Mvt. 2:
1. Praise:
-The bass movement at the beginning (repeated 1, w/ occasional 7th), was very stylistically appropriate, in my opinion. Good ear!
-At 2:75, I liked the woodwind's and sax's intertwining lines. The following string entry with the previous theme was masterful.
-4:55--another good setup of the solo entry, using brass this time
-The ending was very poised and quintessentially classical. *breath of fresh air*
2. Thoughts:
-Though the beginning melody was very nice, providing a nice introduction to the contrasting movement, the sound of venturing very briefly into another key (at the end of the 1st phrase) and then jumping right back might not be best. If you want to do that, maybe start the second phrase in the same "key-feel" and then get back to where you started by the end.
-at 4:20, I don't think a complete release of energy works best. Consider that you've already dissipated the energy you'd built up by having the orchestra drop out and continuing with the sax line. I think if you connect the end of the sax solo with the section after 4:20, you'll get continuity and still achieve the relaxation into the original mood.
III. Mvt. 3:
1. Praise:
-the 12/8 feel provided good energy that helped the final movement
-at 6:15, letting the orchestra and sax play off of eachother gave some nice forward motion
-Good use of melodic fragments to accompany the sax at 3:20
*Off-topic comment: I actually thought the theme here sounded slightly darker than the main theme (introduced in the 1st orchestral tutti) of Mvt. 1 (not the intro: that had definite angst). Just thought I'd give you my opinion. The first sounded more declaratory, whereas this conveyed more agitation, in my mind.
2. Thoughts:
-at 5:37, as I said with the 2nd movement, I would not allow for a total break in the sound. I think you could simply overlap the last chord of the brass with the entry of the energetic perc./sax section. "Phrase elision/melds" sometimes even cause the last measure of one phrase to serve double-duty as the 1st phrase of the next. You'll just have to decide if you really want to set the next section apart, or if you'd rather connect things.
-Your recap was great after 6:50, but I was totally caught off guard by it. Could you build up a little more anticipation and "set it up?"
-Perhaps the end of THIS movement would be the place for an extra chord, in lieu of the one at the end of the 1st movement.
-One final word about the harmony. I again felt that the dissonance at 2 mins. was a little too sudden. Also at 4:17; these spots seem to break the general "frankness/candor" of the classical harmony you've employed elsewhere, if you understand what I mean by that description. I would just encourage you to take another look and consider what would be within the bounds of the "neo-classical" style you're shooting for and what would sound out-of-bounds.
For never having written a piece of this magnitude myself, I certainly ventured to say alot! Let me reiterate the commendable job you did in capturing some classical rudiments on which to found the piece and still making it your own. The piece had some very enjoyable moments beyond the overall energy that kept it from becoming stagnant and monotonous.
Glad to listen!
Brooks

So pretty much. According to JairCrawford, he sayed it should be more subtle...and as I was saying earlier you need a Tenor...so, if you made it more "Suttle" then it would be better. lulz. But other than that, it's pretty good. And I totally hate the sound of the music maker like thingy. It's totally not nearly as good as the real stuff.