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- Submitted: Dec 27 2011 12:02 AM
- Last Updated: Feb 11 2013 01:10 AM
- File Size: 6.51MB
- Views: 6993
- Downloads: 2,769
- Genre: Romanticism
- Sub Genre: Neo-romanticism
- Form: Suite
- Recording Quality: Garritan
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Adriana's Waltz (third movement from Adriana Suite, Op. 27 - REVISED)
22 Votes
3
A few words paragraphs 
about this work:
The Adriana Suite, Op. 27 (to which this piece belongs) is based on a fictional female character of my creation (I'm a fiction writer as well as a composer). I have been composing it (on and off) since 2007, and will most likely expand it into a full-lenght ballet.
The pieces intend to depict several traits of her personality (Adriana is a dreamy, noble, outstandingly smart yet innocent teenager, very intelectual and artsy, who feels utterly 'out of place' among her peers and is also hopelessly shy). This waltz is intended to be the third movement; it has been extensively revised (and hopefully improved) according to multiple suggestions.
The program remains essentially the same: Adriana is getting ready to go out (for a date, perhaps), and endlessly goes back and forth trying to decide what to wear (hence the main theme goes also "back and forth") - but now Adriana's own tune (which appeared in all other four movements of the Suite but not in the "original" version of this Waltz) is drawn in, as a countermelody to underline her personality. She pauses, attempting to imagine how the night is going to turn out for her, and then wondering if she's about to meet someone special - but her shyness haunts her as she doubts herself and agonizes about her expectations (this section has been lenghtened and now features a modulation to F# minor, moving into a climatic passage). Eventually she overcomes her doubts and resumes smarting up for the night, now with a more optimistic attitude (reassured by another statement of her "signature" theme in the brass) and even poking fun at her own fears, albeit intimately not really convinced (which accounts for an unconclusive coda).
Other changes include the lengthening of the introduction (now including several gloomy measures referencing the previous movement, before the fanfare-like statement of the waltz's main tune) and fixing several issues with this particular passage, pointed out by several commenters. I also made adjustments on the piece's dynamics, cut out several measures in various passages and added new material - resulting in a longer waltz, which now reaches almost 7 minutes.
Anyway, I hope this music is enjoyable regardless of this (unintendedly) long explanation.
UPDATE: The first two movements from Adriana Suite are now available in the site, as well as the fourth and fifth movements. The full Suite was voted by the YC community as the Top Incidental Piece for 2012
.
about this work:The Adriana Suite, Op. 27 (to which this piece belongs) is based on a fictional female character of my creation (I'm a fiction writer as well as a composer). I have been composing it (on and off) since 2007, and will most likely expand it into a full-lenght ballet.
The pieces intend to depict several traits of her personality (Adriana is a dreamy, noble, outstandingly smart yet innocent teenager, very intelectual and artsy, who feels utterly 'out of place' among her peers and is also hopelessly shy). This waltz is intended to be the third movement; it has been extensively revised (and hopefully improved) according to multiple suggestions.
The program remains essentially the same: Adriana is getting ready to go out (for a date, perhaps), and endlessly goes back and forth trying to decide what to wear (hence the main theme goes also "back and forth") - but now Adriana's own tune (which appeared in all other four movements of the Suite but not in the "original" version of this Waltz) is drawn in, as a countermelody to underline her personality. She pauses, attempting to imagine how the night is going to turn out for her, and then wondering if she's about to meet someone special - but her shyness haunts her as she doubts herself and agonizes about her expectations (this section has been lenghtened and now features a modulation to F# minor, moving into a climatic passage). Eventually she overcomes her doubts and resumes smarting up for the night, now with a more optimistic attitude (reassured by another statement of her "signature" theme in the brass) and even poking fun at her own fears, albeit intimately not really convinced (which accounts for an unconclusive coda).
Other changes include the lengthening of the introduction (now including several gloomy measures referencing the previous movement, before the fanfare-like statement of the waltz's main tune) and fixing several issues with this particular passage, pointed out by several commenters. I also made adjustments on the piece's dynamics, cut out several measures in various passages and added new material - resulting in a longer waltz, which now reaches almost 7 minutes.
Anyway, I hope this music is enjoyable regardless of this (unintendedly) long explanation.
UPDATE: The first two movements from Adriana Suite are now available in the site, as well as the fourth and fifth movements. The full Suite was voted by the YC community as the Top Incidental Piece for 2012
.
Que monito !!! asi esta de bonita la Adriana esa ?
Pues sí, así de guapa...
Thanks for your comments!
(I did this with a very old version of Finale which didn't play the timpani rolls - just upgraded it the day before yesterday, but I left out this particular correction... It's still playable, though
).It now seems to me Berlioz is a heavier influence in my style than I previously thought. Not a bad company at all...
Nice suggestion about the harp. I hadn't conceive this with it - but perhaps I might revise it in the future.
I'd like to listen to your take on the classic waltz as well.
Gracias de nuevo, amigo!
VERY nice composition meastro..I applaud you....great usage of the orchesrtal colours in dividing the voices...sometimes perhaps a tad longwinded but never boring music....I couldn't hear all the notes alwatys when following the score..but I'm certain that's just due to the midi and it's a minor nitpick. I'm impressed by this piece...very well done.
@Beethovenbd: a million thanks for listening. You're right, there are very minor playback issues (i.e., almost inaudible notes in the woodwinds, oversized bass strings), but nothing a good ol' live recording couldn't fix 
...
...
This is great! I like the solo woodwind parts escpecially! I don't have anything bad to say about it, of course. I like the recording quality. It is way better than my noteflight recordings.
Very nice words! Thanks!
I'm really glad you enjoyed the scoring for woodwinds...
And I can also relate to you when it comes to poor renderings. Only a couple weeks ago I was still stuck with miserable MIDI recordings...
I'm really glad you enjoyed the scoring for woodwinds...
And I can also relate to you when it comes to poor renderings. Only a couple weeks ago I was still stuck with miserable MIDI recordings...
Seriously... This work is rather unambitious, but when I first heard the improved record, I was encouraged enough to post it.
I don't understand in what way this is unambitious. This is pretty much the kind of music I'd expect to hear if I ever went to a classical concert. Are my expectations are too low, I've only been to a few concerts? But I definitely find your piece enjoyable.
I this it's cool that you based it on your own fictional character and that you're telling a story with both text and music. I probably wouldn't have imagined anything like it by just listening to the piece, but when also reading the text everything makes sense. I can paint the pictures in my head. I like listening to music in some context, like this.
I was about to criticize your use of dynamics, I had difficulties hearing some instruments on my first couple of listens. But after about 30 minutes of listening everything sounds fine, except for the playback issues that have been already been mentioned. I guess my ears just needed some time to get used to the timbres and the varying dynamics. I think this is because I mostly listen to rock music =P
Good job!
I this it's cool that you based it on your own fictional character and that you're telling a story with both text and music. I probably wouldn't have imagined anything like it by just listening to the piece, but when also reading the text everything makes sense. I can paint the pictures in my head. I like listening to music in some context, like this.
I was about to criticize your use of dynamics, I had difficulties hearing some instruments on my first couple of listens. But after about 30 minutes of listening everything sounds fine, except for the playback issues that have been already been mentioned. I guess my ears just needed some time to get used to the timbres and the varying dynamics. I think this is because I mostly listen to rock music =P
Good job!
This is pretty much the kind of music I'd expect to hear if I ever went to a classical concert.
ColdTriad: I appreciate these words very much. Anyway, the more concerts you go and the more music you listen to, the more varied your expectations will be. But no matter how broad and vast your musical universe is, there's always a certain style that best captures our imagination.
I'm also glad that Adriana's story helped your musical experience rather than thwarting it. Thanks a lot!
Amazing! Very colorful, and I agree w/ the people above, very Berloiz-y. I would love to hear this played live, it's just astounding. I love the way you combine music and literature. I understand they're very related, but you combined the two in a way which makes the story much more realistic. Next step, invent a book that plays music along with the story!
Nice composition.
Critiques:
1) Your Trumpet should be in "C" not Bb. Even if you specify, the trumpeters would still do C.
2) Put the trombone in Bass Clef. Tenor Clef unless it's real high, is archaic
Critiques:
1) Your Trumpet should be in "C" not Bb. Even if you specify, the trumpeters would still do C.
2) Put the trombone in Bass Clef. Tenor Clef unless it's real high, is archaic
@treehugger1995: very nice words. I'd also love to hear this piece live... As for the whole book-plus-music, I think the current available technology makes it feasible... but I can't imagine how many weeks of music should I compose for Adriana's stories.
@maestrowick: thanks a lot for your input. The trumpet thing still confuses me - I had a high school teacher who was a trumpet player, and I wrote a piece for him in F. I gave him the part - and he played it in Eb (I actually had to transpose the piano part)... So it was very clear for me that I had to write for the trumpet this way... :S As for the tenor clef, I honestly felt more comfortable using it for the trombones (as opposed to the bass trombone and tuba).
@maestrowick: thanks a lot for your input. The trumpet thing still confuses me - I had a high school teacher who was a trumpet player, and I wrote a piece for him in F. I gave him the part - and he played it in Eb (I actually had to transpose the piano part)... So it was very clear for me that I had to write for the trumpet this way... :S As for the tenor clef, I honestly felt more comfortable using it for the trombones (as opposed to the bass trombone and tuba).
Nope, we trombone players PREFER Bass Clef. Trust me on this! All modern parts are written in Bass Clef
OK, maestrowick, I trust you - after all it's you on the trombone, not me. Perhaps I should compose it using whatever clef and then switch to Bass Clef for the players' convenience. It should not be a big deal to change it. Thanks again!!
- after all it's you on the trombone, not me. Perhaps I should compose it using whatever clef and then switch to Bass Clef for the players' convenience. It should not be a big deal to change it. Thanks again!!^^^Exactly!!!
" All these comments are sound, i can't think of anything that has not been said. Thiz work reminds me of a great kompozer score. "
@SYS65 & Maestrowick: I've updated the score to show the minor corrections both of you suggested. I value feedback a lot!
@Marzique Bordex: thanks a lot!
" Thiz work reminds me of a great kompozer score. "
@Marzique Bordex: thanks a lot!
It's interesting to listen to a musical portrait of a person like this, as others have written already. The sections fits together well, which I think helps in showing that these are the emotions of one person, rather than different people. Nice job!
It's interesting to listen to a musical portrait of a person like this, as others have written already. The sections fits together well, which I think helps in showing that these are the emotions of one person, rather than different people. Nice job!
Maize: I'm very flattered by your comment. I'll try to upload the rest of the suite (as well as the movement that became a tone poem of its own) as soon as possible.
This is amazing! it's great how you translated a story into sound, the meaning is very sweet! and so is the music. It's like it was made in a different time. You're remarkable. Felicidades!
Martha Lucia: loved your comment - although it made me feel I missed my time by about a couple centuries ... Thanks for listening and reviewing, I appreciate that very much! Miles de gracias...
... Thanks for listening and reviewing, I appreciate that very much! Miles de gracias...
This is absolutely charming! I love everything about it, not the least being the Tchaikowsky-esque styling and the colourful orchestration. Well done!
@J. Lee Graham: I greatly appreciate your comments on this work. This 'Tchaikovsky-esque styling' is very dear to me (it was Tchaikovsky who first got me interested in composing), so perhaps it's just natural to show its influence in my works. I'm glad that you found the orchestration attractive, too. Thanks for listening!
I absolutely love it. Thank you for the upload.
" I love it. I imagine myself surrounded by sublime architecture & evergreen scenery, just a most serene place to be in. Mostly a mentality that can't be beat in it's heaven-like bliss & intoxication of a fraternity & luxury atmospheric aura. Five stars! "
I agree with the general consensus -- this is worthy of 5 stars.
You seem incredibly at home with a large orchestra -- your colorful use of the instruments is marvelous, keeping me captivated the whole time. You made me want to meet Adriana! I suppose you couldn't want any more than that, right?
This comfortableness is emphasized when you compare the solo piano and orchestra pieces you've made with each other. Your piano pieces have a slightly "forced" feel, sometimes, while your orchestral piece here is as smooth as a buttered pig.
You are wise to tackle both, though, because the orchestra can't accomplish certain things the piano can. (Of course, the opposite is also true.) It's just that the piano requires a different train of thought from the orchestra entirely (which is apparently why Chopin, a piano genius, couldn't write for an orchestra to save his life).
With an orchestra, you have a wide variety of "voices" at your disposal -- in a sense, development of your ideas is easier, simply because you have so much room for sheer creativity with what you want to convey. (I.E., have the horns had their say? Let the flutes speak!) Just having fun with this form of development can be a way to enrapture your audience.
With a piano, things are a little more ... constrained, obviously. For one thing, there's only one certain "sound" it can make -- to make fascinating textures or colors, one must develop in a way that the pianist can perform with his lone two hands (or three, if he is Lisztian/Lisitsian), which is why a lack of counterpoint is much more glaring in your piano works than in this fabulous orchestral piece. When the pianist's hands and fingers are simply having their say completely independent of each other, two or three, maybe even four or five, different thoughts all being told all at once ... it is a wonderful thing. It could either involve constant contrary motion, or simply allowing the thoughts and "sentences" to begin and finish at different times, overlapping in the meantime.
In this orchestral piece, there is a little counterpoint -- but not very much, that one could display it as one of the foundations of what makes the piece great. What makes this so excellent is that it's charming, sincere, and uses the instruments in a wonderful fashion, with a great melodic and harmonic motif. It doesn't really require counterpoint -- it doesn't feel like anything is missing. But in a piano piece, particularly in a Classical/Romantic mindset, you usually can't get by on the color of chords alone, and how they play off each other. In many cases, "more" is required to take a good idea, and make it even better.
(On a side note, please forgive my "caveman" way of speaking -- I've been struggling this whole time to word things in the correct way. I have a very difficult time with conveying my thoughts into words. This entire review has taken me about 45 minutes X_X )
That's really all I have to say right now -- I hope that I've been helpful and encouraging. You're really quite talented, and imaginative! Keep up the good work -- I know you will make great things, as long as you continue to do your best.
Thank you for sharing this with us! I really enjoyed it -- one of my favorites on the site
You seem incredibly at home with a large orchestra -- your colorful use of the instruments is marvelous, keeping me captivated the whole time. You made me want to meet Adriana! I suppose you couldn't want any more than that, right?
This comfortableness is emphasized when you compare the solo piano and orchestra pieces you've made with each other. Your piano pieces have a slightly "forced" feel, sometimes, while your orchestral piece here is as smooth as a buttered pig.
You are wise to tackle both, though, because the orchestra can't accomplish certain things the piano can. (Of course, the opposite is also true.) It's just that the piano requires a different train of thought from the orchestra entirely (which is apparently why Chopin, a piano genius, couldn't write for an orchestra to save his life).
With an orchestra, you have a wide variety of "voices" at your disposal -- in a sense, development of your ideas is easier, simply because you have so much room for sheer creativity with what you want to convey. (I.E., have the horns had their say? Let the flutes speak!) Just having fun with this form of development can be a way to enrapture your audience.
With a piano, things are a little more ... constrained, obviously. For one thing, there's only one certain "sound" it can make -- to make fascinating textures or colors, one must develop in a way that the pianist can perform with his lone two hands (or three, if he is Lisztian/Lisitsian), which is why a lack of counterpoint is much more glaring in your piano works than in this fabulous orchestral piece. When the pianist's hands and fingers are simply having their say completely independent of each other, two or three, maybe even four or five, different thoughts all being told all at once ... it is a wonderful thing. It could either involve constant contrary motion, or simply allowing the thoughts and "sentences" to begin and finish at different times, overlapping in the meantime.
In this orchestral piece, there is a little counterpoint -- but not very much, that one could display it as one of the foundations of what makes the piece great. What makes this so excellent is that it's charming, sincere, and uses the instruments in a wonderful fashion, with a great melodic and harmonic motif. It doesn't really require counterpoint -- it doesn't feel like anything is missing. But in a piano piece, particularly in a Classical/Romantic mindset, you usually can't get by on the color of chords alone, and how they play off each other. In many cases, "more" is required to take a good idea, and make it even better.
(On a side note, please forgive my "caveman" way of speaking -- I've been struggling this whole time to word things in the correct way. I have a very difficult time with conveying my thoughts into words. This entire review has taken me about 45 minutes X_X )
That's really all I have to say right now -- I hope that I've been helpful and encouraging. You're really quite talented, and imaginative! Keep up the good work -- I know you will make great things, as long as you continue to do your best.
Thank you for sharing this with us! I really enjoyed it -- one of my favorites on the site
woooo this is awesome ^^. i really enjoyd listening .
.@Johann15: I thoroughly enjoyed your comment - I'm very glad that you like my music.
@Marzique Bordex: the fact that this music awakened your imagination in such a way is a great compliment! Thanks for your words.
@BryanSegers: I'm flattered that you find this 'awesome'.
@Serge: Thanks for taking so much of your time into such a detailed and helpful review. I usually take a bit long too, and since English is not my first language, I might come off as much more of a blunt 'caveman' than you ever will.
But you're completely right about me; I do feel at home when composing orchestral works. Perhaps I'm quite the opposite of Chopin
... I doubt that my piano pieces come up with the same ease as the orchestral ones (which doesn't mean that I'll ever stop composing for the piano - poor pianists!)...
I'm very pleased you found this piece being sincere and charming - since I give a special value to artistic sincerity, I make my best to be genuine and authentic whenever composing. The fact that you praise these traits in my piece is one of the best compliments I've taken.
Again, thanks for listening!
PD. Adriana called. She's grateful you'd like to meet her - but you know, her shyness still overwhelms her ...
@Marzique Bordex: the fact that this music awakened your imagination in such a way is a great compliment! Thanks for your words.
@BryanSegers: I'm flattered that you find this 'awesome'.
@Serge: Thanks for taking so much of your time into such a detailed and helpful review. I usually take a bit long too, and since English is not my first language, I might come off as much more of a blunt 'caveman' than you ever will.
But you're completely right about me; I do feel at home when composing orchestral works. Perhaps I'm quite the opposite of Chopin
... I doubt that my piano pieces come up with the same ease as the orchestral ones (which doesn't mean that I'll ever stop composing for the piano - poor pianists!)...I'm very pleased you found this piece being sincere and charming - since I give a special value to artistic sincerity, I make my best to be genuine and authentic whenever composing. The fact that you praise these traits in my piece is one of the best compliments I've taken.
Again, thanks for listening!
PD. Adriana called. She's grateful you'd like to meet her - but you know, her shyness still overwhelms her
...
This is wonderful. A great combination of both classical and romantic aesthetics. I can very clearly hear all the characteristics of Adriana you described portrayed in the music. I, too, would love to meet Adriana .
On a side note, your English is excellent; I never would have guessed it wasn't your first language.
.On a side note, your English is excellent; I never would have guessed it wasn't your first language.
@DiamondSoul: double thanks. I'm really delighted that you find this 'portrayal' so convincing. And that goes also for my English ...
You're right about the 'Classical meets Romantic' aesthetics here. In fact this is one of the reasons for this piece to be one I'm really fond of.
PD. Adriana is still shying away a bit from these requests - but, who knows if she'll ultimately change her mind... ?
...You're right about the 'Classical meets Romantic' aesthetics here. In fact this is one of the reasons for this piece to be one I'm really fond of.
PD. Adriana is still shying away a bit from these requests - but, who knows if she'll ultimately change her mind...
?Serge hit on a lot great things; they were wonderfully placed into dialogue.
The aural sensation of this piece is definitely here. However, there are two things, maybe three that'll make this piece stronger.
1) Counterpoint.
2) Development in the strings
3) Timbre contrast.
Once you add these in this piece, you'll find yourself writing even more.
The aural sensation of this piece is definitely here. However, there are two things, maybe three that'll make this piece stronger.
1) Counterpoint.
2) Development in the strings
3) Timbre contrast.
Once you add these in this piece, you'll find yourself writing even more.
@Maestrowick: thanks for your interest. This is the kind of feedback most likely to help composers to improve.
I agree with your appreciation (and Serge's). Of course that's what I meant when I said this waltz wasn't 'ambitious', as it could have gone further and deeper in these particular terms. But perfecting the technical aspects can't hurt either (esp. since I am not exactly the most accademically-trained composer around). Any precise advice will help - thanks a lot.
I agree with your appreciation (and Serge's). Of course that's what I meant when I said this waltz wasn't 'ambitious', as it could have gone further and deeper in these particular terms. But perfecting the technical aspects can't hurt either (esp. since I am not exactly the most accademically-trained composer around). Any precise advice will help - thanks a lot.
Absolutely delightful. Reminds me of Berlioz, yet still in your own original voice. I look forward to hearing the entire suite!
It is a nice waltz in Tchaikovsky style. You seem to be fond of Tchaikovsky's music. But you should try to find more personal musical language.
I think the dynamics don't always sound perfect but that's problem with midi realisation. Do you have a chance for live performance or recording?
I think the dynamics don't always sound perfect but that's problem with midi realisation. Do you have a chance for live performance or recording?
@Bkho: I'm currently getting the Suite ready for uploading. So far I have the first movement and this Waltz (in addition to a tone poem derived from what should have been the third movement), and am working to polish the rest of it (there were a couple unfinished parts). I'm grateful for your interest and will work as quickly as possible.
@Sojar Voglar: you are totally correct about my fondness of Tchaikovsky. Most of the reviewers have pointed out either Tchaikovsky or Berlioz as the main influences in my style, at least in this waltz (the Berlioz part somewhat surprised me in a good way, though). I'm very comfortable when composing in this language, and (as others have commented as well) feel 'at home' in orchestral music. Yet, as most 'developing' composers, I'm in the process of constructing and perfecting my own language.
I'm sorry to say I have little or no chance at all for a live performance of this piece as for now. I could use some help to change that.
@Sojar Voglar: you are totally correct about my fondness of Tchaikovsky. Most of the reviewers have pointed out either Tchaikovsky or Berlioz as the main influences in my style, at least in this waltz (the Berlioz part somewhat surprised me in a good way, though). I'm very comfortable when composing in this language, and (as others have commented as well) feel 'at home' in orchestral music. Yet, as most 'developing' composers, I'm in the process of constructing and perfecting my own language.
I'm sorry to say I have little or no chance at all for a live performance of this piece as for now. I could use some help to change that.
Excellent waltz and orchestration. I felt like dancing.
Hi, Austenite (Robert)
Today we went through this composition metodicaly with my students. They all liked the music. We studied the score carefuly and there are some more ideas how to prepare the score if performance would occur.
There is no real nead to improve orchestration, but the dynamic marks are important. Whenever you use solos in winds and horns you must make dynamics at least one if not two points louder. For example: I have spotted horn solo using pp above strings. This will never sound. You should put mp or even mf in such places. Check throughout the score.
On a few occasions you import very fast notes in low strings. Too bad you immediately abandon this. Why not using this in winds? Flutes and clarinets would fit perfecty!
Greetings from Slovenia!
Crt
Today we went through this composition metodicaly with my students. They all liked the music. We studied the score carefuly and there are some more ideas how to prepare the score if performance would occur.
There is no real nead to improve orchestration, but the dynamic marks are important. Whenever you use solos in winds and horns you must make dynamics at least one if not two points louder. For example: I have spotted horn solo using pp above strings. This will never sound. You should put mp or even mf in such places. Check throughout the score.
On a few occasions you import very fast notes in low strings. Too bad you immediately abandon this. Why not using this in winds? Flutes and clarinets would fit perfecty!
Greetings from Slovenia!
Crt
Hi, Crt (Sojar Voglar)...
Wow, this is a major first for me... Never before had my music been used as class material, let alone in Europe itself.
I'm very pleased that both you and your students liked the piece and found it instructive. Of course, I am also willing to make these minor performance-oriented corrections (I've seen already seen some of the dynamics marks you and your students spotted). Since my experience preparing performances of my works is next to nothing, this advice is extremely valuable.
As for the quick notes in the low strings, perhaps I was a bit shy to keep them going longer. I know this kind of figures could also work very well in flutes and clarinets - I'll take this into account.
Thanks for your advice and support.
Greetings from Costa Rica,
RFB (Austenite)
Wow, this is a major first for me... Never before had my music been used as class material, let alone in Europe itself.
I'm very pleased that both you and your students liked the piece and found it instructive. Of course, I am also willing to make these minor performance-oriented corrections (I've seen already seen some of the dynamics marks you and your students spotted). Since my experience preparing performances of my works is next to nothing, this advice is extremely valuable.
As for the quick notes in the low strings, perhaps I was a bit shy to keep them going longer. I know this kind of figures could also work very well in flutes and clarinets - I'll take this into account.
Thanks for your advice and support.
Greetings from Costa Rica,
RFB (Austenite)
Dear Austinete,
I just listend to your waltz - and just want to tell you how thrilled I am by it's melodic beauty and its rich and colourful instrumentation! I am really delighted!!!
Gerd
I just listend to your waltz - and just want to tell you how thrilled I am by it's melodic beauty and its rich and colourful instrumentation! I am really delighted!!!
Gerd
@billyrobts: it's good to know you enjoyed the orchestral color - and actually felt carried away into the ballroom...
@Gerd: I'm delighted as well that you found it so melodious and colorful... Thanks for your comment, it's very welcome!
@Gerd: I'm delighted as well that you found it so melodious and colorful... Thanks for your comment, it's very welcome!
Well, it's terrible. Your harmonies are so bland they're nauseating. Your motives are weak, trite, flimsy flamsy nonsense.
I'm sure you have a bright future ahead of you writing cheap RPG music.
I'm being forthright because you're not a child, you're almost ten years older than me and if you're ever going to develop as a musician the last thing you need is me jerkin you off.
So, for the love of God, write something different. In fact, I'd say the best thing you could do to develop as a musician is write in the very last idiom you would ever write in. Whatever kind of music you hate the most, write a bunch of it. And then, when you want to come back to writing dribble like this it can at least be good dribble.
I mean... not looking at the score, but did you even change keys once? I don't even hear anything as tame as a dominant shift here. At most I hear you going to the relative minor for a little bit, but I bet you didn't use any pivot tones when you did that. Wouldn't be surprised if this is all straight diatonic in one key.
I'm sure you have a bright future ahead of you writing cheap RPG music.
I'm being forthright because you're not a child, you're almost ten years older than me and if you're ever going to develop as a musician the last thing you need is me jerkin you off.
So, for the love of God, write something different. In fact, I'd say the best thing you could do to develop as a musician is write in the very last idiom you would ever write in. Whatever kind of music you hate the most, write a bunch of it. And then, when you want to come back to writing dribble like this it can at least be good dribble.
I mean... not looking at the score, but did you even change keys once? I don't even hear anything as tame as a dominant shift here. At most I hear you going to the relative minor for a little bit, but I bet you didn't use any pivot tones when you did that. Wouldn't be surprised if this is all straight diatonic in one key.
@Dominus: thanks for your "review" (?). There will never be unanimity about a piece's quality (or lack of), but you being the only harshly negative review is very telling, especially if you weren't able to tell exactly what you find so repulsive about the piece and what can be improved on it (not to mention the fact that you bring your guns out without bothering to look at the score and find the passages in E major and Db major).
It seems this is not exactly musically-motivated, though.
It seems this is not exactly musically-motivated, though.
I thought I was very specific in my criticism.
: Bland harmony.
: Weak cliche motives
: extremely predictable, no motion.
: flimsy flamsy, useful only as cheap video game music
In essence it is trite and amateurish. I also suggested working outside of your comfort zone to further your development as a musician. I would also suggest learning about some extended harmony. Naked triads are boring, buddy.
Want me to expound on any of these points?
And you mean to say I'm giving you a scathing review because we've had differences in opinions in the past?
While that's not true, I do think there's a connection. It seems your aversion to interesting music is evident in your work.
I invite you to return the favor and write a scathing review about how my music is pretentious nonsense or however it is you feel about modern music.
: Bland harmony.
: Weak cliche motives
: extremely predictable, no motion.
: flimsy flamsy, useful only as cheap video game music
In essence it is trite and amateurish. I also suggested working outside of your comfort zone to further your development as a musician. I would also suggest learning about some extended harmony. Naked triads are boring, buddy.
Want me to expound on any of these points?
And you mean to say I'm giving you a scathing review because we've had differences in opinions in the past?
While that's not true, I do think there's a connection. It seems your aversion to interesting music is evident in your work.
I invite you to return the favor and write a scathing review about how my music is pretentious nonsense or however it is you feel about modern music.
@Dominus: I'm not taking any "retailation" review. It would be not only dishonest, but absolutely pointless. I'm not afraid of recognizing the quality of a music work, regardless of my personal tastes or opinion about whoever composed it. It doesn't matter if it's "modern" (whatever that means) or "not modern"; if it somehow makes sense, I'll say it without hesitation. It's the right thing to do, and it's the way I shall deal with your works when eventually reviewing any of them.
"Amateurish" work? Quite possible; I'm not a professional musician like you - although other professional and very accomplished musicians have been way more favorable to it in their own comments. It can be just that it doesn't fit your tastes on what "interesting" music is - but I respect that. I thank you anyway for bothering yourself into listening to this.
"Amateurish" work? Quite possible; I'm not a professional musician like you - although other professional and very accomplished musicians have been way more favorable to it in their own comments. It can be just that it doesn't fit your tastes on what "interesting" music is - but I respect that. I thank you anyway for bothering yourself into listening to this.
I rather like this piece, but my only complaint would be that I think the bassoon line is often covered, especially during it's "call" to the other woodwinds.
Besides that. I really enjoyed.
Besides that. I really enjoyed.
@pequadcob: thanks for your input. It's indeed possible that the bassoon gets 'drowned' at times despite its unmistakable timbre (although I've attempted to correct that in the score by increasing the woodwind dynamics, esp. during solos, precisely to avoid drowning them). Should a performance occur, I'd expect the lines to be clearly distinguishable.
I'm really satisfied that you enjoyed the piece. Thanks again for the comment...
I'm really satisfied that you enjoyed the piece. Thanks again for the comment...
very Nice, and i'm definitely in love with Adriana.
Actually, The waltz brings a whole new dimension to the way we see "Adriana" after the first movements !
Actually, The waltz brings a whole new dimension to the way we see "Adriana" after the first movements !
@Younes: I'm very glad you have enjoyed both the Waltz and the previous two movements. I'm very amused to see shy Adriana having actually a number of loving fans ... and really hope the remaining two movements don't ruin it for her. Thanks for your comment!
... and really hope the remaining two movements don't ruin it for her. Thanks for your comment!
- Perfect!!
This is a first reaction without looking at the score - well orchestrated and though not that ambitious in its deployment of harmony and melody I like you do it well and commit to the older style (a kind of Tchaikovskian ballet music) completely.
Keep writing and the good work!!!
Keep writing and the good work!!!
Wait I caught something with your spelling of accidentals - measyre 66 - Please change those sharps to flats - you make it confusing to read.
Ok ONE final comment - the measure before last - the chord coming in on the third beat while we hear the strings sounds a little clumsy - how about removing the chord to have the string sound and then give a held note for two beats on what is the last measure. Then strings and orchestra provide a tutti chord on beat 3 and then the same chord on beat 1 of an additional measure to end the piece. So you would have to add a measure.I think that would work much better.
Small edit but right now that string line at the very end is going to sound too incidental.
Small edit but right now that string line at the very end is going to sound too incidental.
@Fred Volsung: thanks for listening! I'm very grateful about your comments.
@composerorganist: I appreciate your feedback very much! Indeed my composition style in general is committed to the "old-fashioned", and the "Tchaikovskian ballet music" is a very fitting description, in which I take some pride (some people have in fact suggested to turn this Adriana Suite into a ballet).
You show very sharp eyes by pointing out these misplaced sharps (no pun intended). I'll be correcting them when I revise the score again - special thanks for this. I'll be also taking into account your suggestion about the chord on the final bar(s), since I'm not very satisfied with it either. Thanks for your comments!
@composerorganist: I appreciate your feedback very much! Indeed my composition style in general is committed to the "old-fashioned", and the "Tchaikovskian ballet music" is a very fitting description, in which I take some pride (some people have in fact suggested to turn this Adriana Suite into a ballet).
You show very sharp eyes by pointing out these misplaced sharps (no pun intended). I'll be correcting them when I revise the score again - special thanks for this. I'll be also taking into account your suggestion about the chord on the final bar(s), since I'm not very satisfied with it either. Thanks for your comments!
Hey, I am interested in arranging this waltz for tamburitza orchestra. Am I allowed to do it?
Crt
Crt
@Crt: This is totally unexpected 
! I'm absolutely honored by your offer, and very pleased to accept it .
I'm wondering about how can this Waltz possibly sound with a tamburitza orchestra, but having listened to your previous works for this ensemble, I'm pretty confident you'll do a wonderful arrangement for it. I look forward to the result of your work on this piece.
A million thanks!
(Wishful thinking: wouldn't this make an eventual live performance more likely? )
! I'm absolutely honored by your offer, and very pleased to accept it .I'm wondering about how can this Waltz possibly sound with a tamburitza orchestra, but having listened to your previous works for this ensemble, I'm pretty confident you'll do a wonderful arrangement for it. I look forward to the result of your work on this piece.
A million thanks!
(Wishful thinking: wouldn't this make an eventual live performance more likely?
)I know tamburitza orchestra is one dimensional in terms of colour, but Tchaikovsky waltzes work pretty fine, I have heard some of them arranged. And certainly there is a solid possibility for live performance. I will talk to my sister-in-law who conducts the orchestra and will inform you.
I will have to skip those sixteen notes in basses and cellos, and will have to find a different solution. It is impossible to play such fast notes on plucked instruments. The rest should work well.
I will probably do it throughout summer.
I will have to skip those sixteen notes in basses and cellos, and will have to find a different solution. It is impossible to play such fast notes on plucked instruments. The rest should work well.
I will probably do it throughout summer.
I literally just discovered this forum today, and this is one of the first pieces I listened to, and I'm very impressed with this piece. I really love how you create a story with the music! This is something that I'm in the process of doing with a wind band piece I'm currently working on. I think my story is a bit more ambiguous, but it has a general idea inprepretable through thematic melody. More to the point, this waltz is a great job.
excellent piece mate!! loved every second of it!!
Very nice! Lovely use of contrasting timbre! Reminds me a tad of Tchaikovsky's Nutcracker Suite.
Really a sublime piece of music! : D
This piece really reminds me of opera overtures. It's really reminiscent of Rigoletto and Carmen (not as dramatic as Carmen of course) and I think part of it is just how you treat the harmonic language. It's really interesting because if you wrote an opera about this character you described, you could probably continue this work with an aria or recitative featuring the character and maybe introduce a storyline.
I was going to comment on the style, but I saw you labelled it as romanticism. I think it completely meets that requisite. Great job!
I was going to comment on the style, but I saw you labelled it as romanticism. I think it completely meets that requisite. Great job!
I definitely hear the influence of the romantic great kompozers in this work though i cannot narrow it down to the most relevant one. I definitely see how the overall " galante structures " in the so many staffs amount to cruxial texture for this desired effect & passion to be created & haunted into the mind of the listener like me & everyone else. I cannot offer any improvements because a good kompozer can realize that completeness like you have done here. Awesome musical matrix!
I am Loving this.
Great Job.
Great Job.
A total masterpiece!
Slightly reminds me one of my favorite classical composition: Pomp and circumstance march No. 1 by Edward Elgar.
If you haven't heard it: http://grooveshark.com/#!/s/Pomp+And+Circumstance+March+No+1+In+D+Major+Op+39+1+Excerpt/4jsdxX?src=5
Slightly reminds me one of my favorite classical composition: Pomp and circumstance march No. 1 by Edward Elgar.
If you haven't heard it: http://grooveshark.com/#!/s/Pomp+And+Circumstance+March+No+1+In+D+Major+Op+39+1+Excerpt/4jsdxX?src=5
Whew 
!
@Sojar: already looking forward to the arrangement and possible performance. I'm pretty sure it will work wonderfully, given your experience with tamburitza orchestras. Keep me updated!
@Sam Plotkin: if this piece contributed to keep you interested in our community, that's something I can take pride about . I hope you keep sharing your own works with us as well.
@GBDFilm: thanks for your comment! I'm really glad that you enjoyed this work so much - hopefully you'll want to listen to the rest of the Suite ...
@Kahlia: true, Tchaikovsky's echoes can't be denied in almost any of my orchestral works. The colorful Nutcracker Suite, and especially his Waltz of the Flowers, were among the works that inspired me to take on composition in the first place ...
@Misshotcherrypie: your words leave me speechless. Thanks a lot!
@CarlosGamboa: your comment is quite interesting. Several members have suggested me to turn my Adriana into a full ballet or an opera, and I can quite agree that this Waltz could work very well as an overture or an Intermezzo. I'm already giving a lot of thoughts at this
...
@Marzique: I'm glad that you find the piece as finished - yet one can always find room for improvement. I'm already considering a lot of suggestions by several reviewers . The influences of a lot of Romantic composers ranging from Berlioz to Tchaikovsky to Elgar can be certainly traced across this work, yet there is always something new to say in any language.
@Symphony1: what can I add? Only my gratefulness.
@Jon Nathan: funny thing that you single out Elgar's Pomp and Circumstance N° 1 - a piece that always gives me goosebumps and whose influence I can't ever escape. Thanks for commenting!
!@Sojar: already looking forward to the arrangement and possible performance. I'm pretty sure it will work wonderfully, given your experience with tamburitza orchestras. Keep me updated!
@Sam Plotkin: if this piece contributed to keep you interested in our community, that's something I can take pride about
. I hope you keep sharing your own works with us as well.@GBDFilm: thanks for your comment! I'm really glad that you enjoyed this work so much - hopefully you'll want to listen to the rest of the Suite
...@Kahlia: true, Tchaikovsky's echoes can't be denied in almost any of my orchestral works. The colorful Nutcracker Suite, and especially his Waltz of the Flowers, were among the works that inspired me to take on composition in the first place
...@Misshotcherrypie: your words leave me speechless. Thanks a lot!
@CarlosGamboa: your comment is quite interesting. Several members have suggested me to turn my Adriana into a full ballet or an opera, and I can quite agree that this Waltz could work very well as an overture or an Intermezzo. I'm already giving a lot of thoughts at this
...@Marzique: I'm glad that you find the piece as finished - yet one can always find room for improvement. I'm already considering a lot of suggestions by several reviewers
. The influences of a lot of Romantic composers ranging from Berlioz to Tchaikovsky to Elgar can be certainly traced across this work, yet there is always something new to say in any language.@Symphony1: what can I add? Only my gratefulness.
@Jon Nathan: funny thing that you single out Elgar's Pomp and Circumstance N° 1 - a piece that always gives me goosebumps and whose influence I can't ever escape. Thanks for commenting!
- I liked the initial trade-off between brass and wind; but wind's role seemed perhaps a little short-lived, and the strings' contribution seemed very unsatisfying: Letting the winds trade to the strings like that sounds like the strings are taking over the response to the brass (from the beginning), not balancing it. The combination of the winds' and the strings' premature drop-outs, as well as the actual quality of what the strings play at all - especially in terms of bringing the music to a pause, made for a weak opening, I thought.
- I liked the character of the next section, but for the contrast with the intro because of the latter's brevity; maybe a little bit of ornamentation in the melodic line would be good (alla the waltz in Berlioz's Symphonie Fantastique).
- I liked the abrupt, unexpected staccato stop as programme music (i.e., on programmatic grounds rather than purely musical), although perhaps it's a little early for some; but again, it's the intro that's ruining this for me: you've already had two places so far, fairly close to each other as well as to this part, that don't go on as the listener expects (though the first two aren't surprises, like this one, as much as weaknesses) that are actually consecutive in terms of places where you expect one thing and get another. Basically, I think it's the faults in the intro that weaken this bit.
- This might just be me, but, preceding the cadence of bars 77-78, I wanted to hear the theme as originally stated when the brass came back in; I think it'd give the music up 'til then a nice graceful coherence, as well as drop the rhythmic stagnation I felt, here.
- I pretty much loved all of the following up until the re-entrance of the material at 202, especially as it was complete with original sharp surprise stop: I don't mind it in terms of abstract form, but having a repeat like that that isn't made much thicker and elaborate from the get-go doesn't say 'programme' to me (I know it gets there, but it doesn't come in full force as an actual manifestation of the theme in full-bloom straight away; it goes over ground already covered); and having the jarring stop in there for the second time ruins its initial appearance as well as that time for me, 'cause it didn't seem like an event anymore.
- When it does eventually come in all guns blazing (about 217), the piece is pretty much over. The fact that it goes on is a bit redundant: as you say in your description,
Girl is shy and timid about going out,
Girl gets over it,
Girl gets ready to go out and have a good time - reservedly..:
Exposition,
Development,
Recapitulation - Coda..:
,
,
- 
...
That's basically the movement; if you do want to have the coda, for the programme, it would make much more sense to have it as a small bit of 'extra punctuation' following the final cadence: an actual 'tail-end' rather than a Beethoven-esque big-deal coda, to have a nice sense of large-scale balance in the movement, keeping it to the point while being formally coherent with the programme.
" but again, it's the intro that's ruining this for me"
Seconded.
Seconded.
Austinite, I'll keep this fairly short since what is there really to say after all the pages of comments on this one. I really enjoy it. It is fun and joyful, and I like your repeating use of the little motif's through out. Well done composition.
I'm so glad to know the composer Austenite since I've been on here! O_O It's my second day on youngcomposer.com though.. I really love your piece.. I thought I should hurry up to be better composer after listening your work x) Thank you!
@Wayne-Scales (and Dscid): I'm really grateful about your detailed review. I have taken note of your observations, and am currently revising the work to incorporate some of these.
@Josh: your comments are very welcome anyways! I'm totally satisfied that you've enjoyed the piece .
@Dongsunable: wow, I'm suprised to have made such an impression. If this encourages you to give your best, I'm flattered. Thanks!
@Josh: your comments are very welcome anyways! I'm totally satisfied that you've enjoyed the piece
.@Dongsunable: wow, I'm suprised to have made such an impression. If this encourages you to give your best, I'm flattered. Thanks!
Now that I know more I can come back at this piece and say wow. A true work of art, if I do say so! Now I love everything about the piece, but I think that my favorite aspect of it is how you toss the melody around a little and portray the feelings.
Wow, this is an amazing piece! It's very colorful, has a lot of depth and the transitions are SO smooth! The music really defines each of those traits that you spoke of. I'm definitely an admirer. Keep up the wonderful job!
@ImperialFlute: I'm very grateful that you've decided to come back - that says a lot by itself about your opinion of this piece.
@Frank Drew: I'm very pleased that you found the piece colorful and smooth, since I was indeed striving to achieve that. I'm still revising some aspects of the piece, though - but if anything, to enhance those traits even more.
@Both of you: Thanks for commenting!
@Frank Drew: I'm very pleased that you found the piece colorful and smooth, since I was indeed striving to achieve that. I'm still revising some aspects of the piece, though - but if anything, to enhance those traits even more.
@Both of you: Thanks for commenting!
beautiful composition.
my compliment!
my compliment!
This would make a great soundtrack! Have you participated in any film scoring competition?
I'm surprised I've never reviewed this considering I have heard it quite a few times. Anyway, you have some pretty melodies going on, as usual, but I feel that harmonically and contrapuntally a lot more could be going on. I realize this is a 5 year old piece, so I won't belabour the point, but since you are trying to emulate Tchaikovsky, you need to see the kinds of things he would do and then try to do your own version of them. Take a look at the waltz from the fifth symphony:
http://erato.uvt.nl/...nor__Op64-3.pdf
Right away, he is doing something interesting by not giving us a particularly strong downbeat, which almost throws everything off-kilter. Then he dovetails with (essentially) a 2/4 phrase before repeating the melody at A, and once we get there...wow, look at all the things that are going on! He slides through a bunch of chords with the main harmony remaining in the background. Then we have some development of the main motive. When the melody repeats again, he uses all sorts of substitute chords that help keep things fresh. Later, after D, in the bassoons at first, he sycopates the rhythm. These kinds of things happen all the time in his music and deserve special study because they are some of the important characteristics that set his music above so many of his contemporaries and applying some similar ideas I think would be quite useful to your own compositions.
It sounds fine, and it is smooth, as many here have said, but I think it is too smooth, I would like to hear more action.
I much prefer your new intro! It prepared my ear better for the brass - and doesn't feel grating anymore . I wasn't overly familiar with the other version, I'm sorry to say...but from what I remember, this seems more colorful, and better orchestrated...
Good job
@Volkmusic: thanks for your compliments!
@Abe Song: well... nope. I haven't been in any film music competition. I've taken part on several composition competitions, though (reaching the final round once).
@TJS: thanks a lot for your detailed comment. Of course I'm pretty familiar with Tchaikovsky's 5th Symphony (perhaps the single work I've got to hear the most live performances of). In the revised version I have posted, I did take into account some of these suggestions.
@Danuniversal: I'm grateful about your comment. Since this is just the third movement of a 5-mov. suite, I'd hope you'd want to listen to the other four parts, all of which are available on this site - praying that you'll find in some of them the "action" you're looking for.
@Dscid: I'm pleased that the rewritten intro works better in this new version, since I went to great lenghts to make sure it did. As for the other changes, they weren't as easy to spot, but I hope they have given the impression of a better, more solid piece.
@All of you: thanks again for your helpful feedback.
Austenite,
What can i possibly say after all these great people making these greater comments?
Well, you' ve blown me away again... I'm still cooling down from having had such bedazzling musical experience! I was already found humble by birth but it is my second encounter with the splendour of your composing and my second time feeling humbler then before...
You are one amazing human being, i thank God for you and your tallents!
Peter,
@Peter: it's me who is humbled by your glowing comment on my work. I'm grateful that you found so much charm in this piece, and hope it's inviting enough for you to listen to the rest of the suite. Thanks for your comment !
I am very impressed with this work, the melody is fluid; the harmony and use of instrumentation is good and your rhythmic decoration is greatly explored within this waltz- that sequence... All I can say is that I love the introduction into it- almost a typical waltz, but what I love about it is your unique approach to it. KUDOS!
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Very classical shape but that's ok, I also have a waltz like that, orchestration is according the style.
I think most of the bars with 16th in Timpani should be Tr~~~~~ (I suppose Finale does play the roll)
I listen some Berlioz there. I know this is finished, but some Harp would be nice, well, it is already nice, post the rest of the suite.