All Activity

For the crescendo and ff part, for instance, m.24-28, string players have the tendency to use more bows. That will mean the slur across measure 27 and 28 will be seperated in to 2 strokes. Otherwise, you made good notations. And the principal section player will make the decision for you and confidently use their own sets of strokes.😆No worries.

I am a violinist and a former orchestra player, so my advise should be realistic. I think most of the slurs you marked on this score is appropriate and practical, given most of the lines are in pianissimo or pianississimo. One useful thing to know is that, 1) if the part you are writing is not the main melody that do not need to be that is not that pronounced, and; 2) if there happens to be a decrescendo leading to a p or pp, then the string player is able to play the passage as slow as possible on the same stroke and the bow is treated as infinitely long. That may seem ridiculous, but that's the case. You play the "feeling" there. Tl;dr, 4-5 bar is totally possible with above prerequisite. One reason behind this playing style is that, it requires good technique to make the bow change unnoticeable. Due to the structure of bow, there is more tension at the bottom than at the bow tip. That will mean a natural decrescendo playing down bow (from bottom to tip) assuming a constant pressure applied. The reverse happens too, where a natural crescendo will occur playing upbow. So if there are any bow changes, the shift from cresc. to descrec. might be audible. While experienced players may control the pressure to mitigate the effect, they avoid changing bow unless the same phase really require 2 bows to project with expressiveness. Therefore, most of the cases, we keep it done in one single stroke for the above situations.

Hello! I’m not sure if this is the right place to ask, but I could really use some advice. I’m currently writing an orchestral piece, and there’s a section where the strings play almost entirely on their own. At first, I used a lot of long slurs, but after reading some books and posts about orchestration, I realize that may not have been the best approach. In your opinion, how should I notate slurs in this passage to make my intentions clear to the performers? The section is very slow, so large slurs seem to be impractical. Thank you very much for your help!

I tried to take the given advice into account, and now have a full start-to-finish version of the score! I've put a lot of hours into this and I'm rather proud of how it's turning out, especially considering my overall lack of experience. Transitions between sections of a piece are one of my main weaknesses, and consequently I tend to scrutinize them a bit more, but I feel there's still room for improvement (for example, I can't tell if measures 82-83 sound good or just out of place). That being said, I'm definitely open to suggestions for anything in this piece (especially notes on the ending, another one of my weaknesses). I've improved a lot but I've got a long way to go.

In classical music, a piece is like an album and movements are like songs in the album. The main difference is that usually people don't listen to movements out of order, since the order is important to the flow of the music, but that's pretty much what a movement is.

Not to belittle anyone or be pretentious, but I think it's best to use the correct terminology when discussing these things. A piece can have several movements. Think of the piece (for example, lets say Beethoven's 5th Symphony) as a novel, and a movement as a chapter of that novel (in our example, there are four movements in that symphony). Movements don't have to be similar (melodically or harmonically) and can have varied moods or personalities. Pieces can have anywhere from 2 movements to infinite (a bit impractical and illogical, but theoretically possible). Most of the time, there is a unifying element that tie together the movements, be it musical or external narrative. There are cases where movements are so different from each other that they can be their own pieces, but that is a rare occurrence.

Great music! I think the bongo sticks and trumpet work perfectly with the theme!

sorry I haven't been posting any new songs.

So, a lot of songs have different movements, and I don't know what they are! most of the time, movements of the same song have a completley different melodys, and are just in the same music genre, and I use FL studio where you just click to add notes and choose an instrument. can someone tell me what a movement is?

Hello Everybody, It has been another long while since I've posted but I've definitely been composing during my time away. This is a work written for a 2-week composition festival I attended, lots of great opportunities and people when I was there. The festival is called the "ICEBERG Institute"(https://www.icebergnewmusic.com/about) if you're interested. Anyways, hope to hear your thoughts on this piece in regards to harmony, melody and rhythm. I am trying to work in a new(jazz?) idiom and I'm not sure how it sounds to others. Thank you for the support

pretty good! both sound like an average rock song!

So, remember when i said i wasn't gonna be posting because i was working on a song? Well here's the song I was working on. Please reply how you liked It! i made this song with only instruments from deltarune chapter 2 so it's a bit like Serious.

Haha thx! Yeah I try to be playful here which sounds quite Haydnesque. It's not finished! There will be a fourth and final movement and stay tuned! Henry

if you like my work, please follow me and subscribe to my youtube channel. i will post every single song i compose.

sorry, all of my songs are .wav's so i have to use a converter to make them applicable for this website but sometimes it does'nt work so that's why there's no mp3.

sorry there's no video, I forgot to upload it on my channel.

its supposed to be final wave, but i used voice to text and it didnt go so well.