Orchestral Sketches

Originally Posted by Nicola Canzano

Austin, I'm not even getting into this with you. In moving counterpoint and harmony, if you move to a note that already exists within a passage, its normally not considered proper. Don't argue with me. I know you're doing it just to do it.

actually, Nico, you are in error on this. it's called oblique movement in counterpoint, and is perfectly acceptable. the potential dissonances between the 1st and 2nd violins before the oblique movement are perfectly resolved.

I don't want you to think I am just contradicting you "to contradict you". however, I don't want someone thinking that simply because you are forcefully expressing your opinion that you are necessarily right.

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Jair
My real issue is more with the register you've chosen for some of the instruments. Your average register is too "same" for all instruments. Your flutes are too low.

However, congratulations on not using the horns as a soprano instrument. They are very well placed.

Overall, the piece lacks inventiveness. You should be looking at actually using the whole orchestra. I notice all sorts of brass in the score, yet almost no notes for them. Brass aren't only for loud parts.

Likewise, you should be exploring the potential for mixed timbre of woodwinds, as well as mixing between choirs - woodwinds with brass or with strings.

actually, Nico, you are in error on this. it's called oblique movement in counterpoint, and is perfectly acceptable. the potential dissonances between the 1st and 2nd violins before the oblique movement are perfectly resolved.

Oblique motion is when one voice remains constant and others change. Not when one voice jumps to the other. Not to correct you, but I think you're misinterpreting me. I'm not saying its incorrect, I'm saying he has better options.

Originally Posted by Nicola Canzano

Oblique motion is when one voice remains constant and others change. Not when one voice jumps to the other. Not to correct you, but I think you're misinterpreting me. I'm not saying its incorrect, I'm saying he has better options.

are we looking at the same place?

measure 11, violins 1 are holding a dotted halfnote B.
violins 2 join them on the 3rd beat.
that IS oblique motion. the 1st violins were not moving. they were holding a note to which the 2nd violins came.

unless we are examining a completely different section, in which case, I will apologize.

Thanks again guys

!Important Update! I have updated the .mid .sib and .pdf files yet again.

I don't remember noticing a piano part in there the first time i looked...
Just so you know, the piano staves go above the strings, below the brass and percussion.

Try optimizing out the empty staves as well, it makes for easier reading.

!Important Update!

I have REALLY increased the instrumentation in this sketch! There are a TON of instruments. SO, I have provided scores with empty staffs hidden. You may open with all staffs showing, of course, but it WILL be hard to read!

Originally Posted by QcCowboy

are we looking at the same place?

measure 11, violins 1 are holding a dotted halfnote B.
violins 2 join them on the 3rd beat.
that IS oblique motion. the 1st violins were not moving. they were holding a note to which the 2nd violins came.

unless we are examining a completely different section, in which case, I will apologize.

Couldn't it be considered just a tone that fits in the chord E G# B (with a passing tone in the viola)? Though a doubled fifth is not pleasant sounding, since there is such a thick E major chord in the strings, it is probably permissible.

Originally Posted by Nicola Canzano

Austin, I'm not even getting into this with you. In moving counterpoint and harmony, if you move to a note that already exists within a passage, its normally not considered proper. Don't argue with me. I know you're doing it just to do it.

I'm glad you know so much, little man

Originally Posted by gms5287

I'm glad you know so much, little man

Ok ok ok. This ended long ago. Let's not start it again, please. The jedi has spoken.

Originally Posted by QcCowboy

I don't remember noticing a piano part in there the first time i looked...
Just so you know, the piano staves go above the strings, below the brass and percussion.

Try optimizing out the empty staves as well, it makes for easier reading.

Ah. Thanks. I have taken this into account.