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Wait, what? I thought woodwinds followed the same Harmonic Series rule that is best for Strings, i.e. big gap at the bottom, small gap at the top. Like, if I am voicing a chord for Woodwind Quartet, this is a very typical distance for me to use between woodwinds: Flute - Bassoon -> 2 octaves Flute - Clarinet -> Octave or Sixth(complete or incomplete chord) Flute - Oboe -> Fourth or Third(Third being more common in melody than harmony) Oboe - Bassoon -> Octave + Fifth or Octave + Sixth Oboe - Clarinet -> Fifth or Third(This is usually where the Third lies in harmony) Clarinet - Bassoon -> Octave or Tenth -
By mercurypickles · Posted
As the title implies, this is my first composition for strings. Coincidentally it's also my first thing in a sonata like form. Tell me what you think! I don't shy away from constructive criticism. As a note: I do enjoy dissonance, both as a composer and a performer, but I know that some people do not enjoy that in the same way. -
I think it's quite a good quartet, good melodic material that is easy to remember and latch onto. some pointers: - There is quite a lot of instances where there is a clear clash in registers which makes it very hard to distinguish the foreground from the background. Try to separate the registers more. It's also partly down to the dynamics markings - I think it would be better to make the semiquavers slurred, for the intended effect that I'm guessing you're going for. - Particularly like the idea at bar 19-20! However, the development of the motif can be improved, the second iteration doesn't draw me in nearly as much - Transitions between pizz and arco and back a bit too rushed at this tempo -
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By Snake_Cake · Posted
Also, don't trust the playback of sh1tty synths (e.g. Musescore soundfonts). Use either Noteperformer or an expertly crafted VST/DAW with good samples. -
By Snake_Cake · Posted
There are 2 main things to consider if you want a "blended" woodwind sound: 1) All the instruments must be in either their "strong" or "weak" register. Adler's book has charts with all this, but I recommend reading the whole treatise. 2) Chords should be voiced in close position, i.e. without huge gaps. That's explained in Rimskiy's book, and there can be some exceptions, but these are quite rare. Also, horns are very often used to enhace the blend, especially in pre-20th century music. They aren't technically a woodwind, but can act as one. If you want to split hairs, I recommend Koechlin's treatise, but it's (AFAIK only) in French.
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