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I'm fairly easy going about how music is phrased. Your indications are fine. Slurring over staccato notes is fine if you want to make it perfectly clear how the phrasing goes. (With most professionals it isn't strictly necessary- they'll know what to do.) You can have slurs within slurs to indicate a few notes legato compared with others that aren't all in the same phrase. A slur covering legato notes that end on a very short untongued note is fine. To me, it shows you want it played that way. If you wanted the staccato to be a tongued staccato you'd leave the slur off. You don't need breathing marks. (As an aside, oboe breathing is awkward. Oboists can play very long phrases, the instrument needs very little wind. The problem is that they have to exhale fully when taking a new breath so it needs that tiny bit extra time than single reed instruments. If they don't exhale first they get dizzy!) Another point is that the lowest notes (the B and Bflat) are impossible to play quietly. A good player can get mf. So your "dim" in bar 6 is unlikely to get much quieter than the mf in bar 5. (In the same way, notes going above high C get weaker and can't be expected to sound more than about mf (even if you write ff.) Hope that helps. -
By celloman99 · Posted
This is a piece I started on in Fall, 2020. I sort of forgot about it for a time because a different project took priority for me. However, I want to make a few final changes to this and call it a completed piece. One of the changes will be the title: I plan to call the piece simply "Baptism". This was suggested by my organ teacher. He said it would help to make the piece seem more useful to a church organist as it could be used for any topic relating to baptism in general, not just the baptism of Jesus. I would love to hear if anyone has any suggestions for the piece, as I am about to start revising it. -
By celloman99 · Posted
Hey @Nhloki, I really enjoyed listening to your fugue! It really sounds amazing. The moments where you prolong a dominant harmony for measure after measure are probably my favorite, as I love the tension and excitement it builds up. I was a little let down by the ending; to me, it feels like it should have a very, very strong V-I in the home key. The strong cadence in iv, followed by the very brief V-I sort of felt like a let down. However, I have no doubt that you very consciously composed every note of this, so I am not criticizing at all, just letting you know how it felt to me. Great job! -
No problem, happy to help! For scooping, do you mean pitch bends? Those are pretty doable for just about everyone, but in fast succession or a glissando (like clarinet in Rhapsody in Blue, for example), they don't really work and may not be as defined as you want, depending on the oboist. -
True, but I'm still not very good with improvisation. So I tried my best I guess haha.
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