Adrian Quince

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Adrian Quince last won the day on February 24

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About Adrian Quince

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    Advanced Member
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  • Gender
    Male
  • Occupation
    IT Consultant / Freelance Musician
  • Favorite Composers
    Beethoven, Handel, Shostakovich, Persichetti, Sousa, Stravinsky, Hindemith
  • My Compositional Styles
    Neoclassical / Neoromantic
  • Notation Software/Sequencers
    Finale / Garritan
  • Instruments Played
    Trumpet, Euphonium, Tuba, Horn, Trombone, Voice, Conducting

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  1. Hi Martim, Think about your narrative arc for a moment: The entire middle of the piece is a musical representation of anxiety, right? Well, in real life, once an anxiety attack has come and gone, you're not just instantly calm again. There's usually leftover nervous energy. The calm isn't complete, there's usually something still stirring under the surface. When it comes to a recap in a piece like this, where the contrast between the subject and its development is significant, there needs to be some sign that the journey the listener just went on matters.
  2. The recap at measure 31 strikes me as oddly out of place. There is so much acrobatic stuff immediately before it and after it that it becomes a weird moment of calm. What would happen if you kept the right hand melody but did some sort of arpeggio instead of block chords in the left for m. 31-35?
  3. Honestly @pateceramics or another choral-oriented member would probably be better to help you with lyrics. But nothing says it has to have lyrics (unless the commission specifies this)... You could always go the Swingle Route: https://www.youtube.com/watch?v=Lm3Gwe7kFVA Glad I can help on the meter thing, though. One of my big things as a conductor is I want music that is as clear as possible and so takes as little rehearsal time as possible. Especially with amateur musicians, they can get hung up on the darndest things.
  4. If you're using Finale, you can do a 2/4 as the real time signature and a display time signature of 4/8. I know it looks fussy, but I actually find your 4/8 version easier to read with an 8th pulse.
  5. Just clarifying, my comment about "room to breathe" was more metaphorical than literal. The words "you" and "and" just feel crowded to my ear, but your point on emphasis is well taken.
  6. Hi Luis, I don't think you have anything to worry about. While your language isn't tonal, it is consistent and develops well as the piece goes on. Even the flute dissonance felt, to me, like an natural consequence of what came before. A few of small comments: 1. The mark for arpeggiated chords should remain strictly vertical, otherwise it may be confused with a glissando. See m. 32 for one of several examples. 2. For the arpeggio in m. 32, you may need to indicate "slow arpeggio" if you want the player to play the speed in the recording. 3. In m. 70-75, the flute player will likely play that louder than indicated despite the dynamic markings. Their instinct will tell them that it's interesting and should come out. If you really want it as subdued as it is in the recording, you may need a marking to indicate that.
  7. I like it. Overall, the simplicity really suits the tune. I agree with @Ken320 about the whole notes in the accompaniment. There's something a little too bare about them. If they were rolled, I think it would make the "hang time" effect work better. You might also consider changing the rhythm in m. 15 so that "love" is an eighth note and "you" is a quarter. When I sing it, that change gives the comma after "you" more room to breathe before "and heard your reply".
  8. Took a look. Can I suggest a meter of 4/8 instead of 2/4?
  9. OK, so you've got three issues here: 1. A pulse of 60 bpm is already slow for amateur musicians. They tend to gravitate towards a tempo of about 90 bpm. 2. The entirety of their musical educations will have put the pulse on a quarter or a half note in simple meter. Eighths and 16ths are psychologically subdivisions of the pulse for musicians at the high school level. 3. The meter of 4/4 strongly indicates a quarter note pulse. The conductor is already going to be working hard to keep the tempo where you want it without having to fight the tempo implied in the notation. This piece will read so much easier for the chorus is you double your note values so that the pulse is on the quarter.
  10. Hi David, Question on tempo, is it really supposed to be this slow? I clocked it at quarter = 30. If so, I would seriously consider doubling your note values. As a rule, amateurs see 16ths and think "fast".
  11. I absolutely love the colors you're getting out of the accordion, especially with the high clusters at m. 122-124 and a couple of bars later. For a moment I thought I heard a theremin in there!
  12. Hi Sojar, Lovely choral writing! I love the colors you get with the cluster chords and the free notation. A couple of comments, though: 1. If I'm reading your score correctly, mm. 44-47 are the climactic moment of the piece. But, echoing @Monarcheon, there's an anti-climactic feel to them. Looking back to Hindemith's principle of managing tension through dissonance, a lot of the color chords fall into groups III and IV, but the climactic passage contains only group I and II chords, which are less dissonant (and in Hindemith's theory, less intense). Here is a listing of Hindemith's chord categories, for reference: http://www.ux1.eiu.edu/~pdhesterman/old/analysis/hindemith.html 2. Rhythmically, the string of quarter notes starting m. 35 is unsatisfying after the rhythmically dynamic tenor/bass chant in mm. 23-32. It would add a lot of unity if a little of the rhythmic energy from the chant carried over into the next section, even if it's only in the form of a couple of dotted quarter/eighth pairs.
  13. Makes perfect sense. Of the three movements, the idea in the final one is the most abstract and hardest to translate into concrete musical terms. If I were to revisit the piece, this movement would probably get a fairly thorough makeover.
  14. Hi Monarcheon, Thanks! Very helpful feedback. Agree about the stops. Looking back on it, they kill the momentum of the opening. Re: the end of movement 1, the feeling of cooperation is intentional. What I was going for is that the argument in the first movement was resolved, but that the piano is taking away some emotional baggage. Re: movement 3, it's intended to be disjunct and uncomfortable. The intended effect was that the piano is getting ganged up on by the others, which causes the outburst at the end. Do you think it's explicit enough to convey that?