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This is a good attempt! Some thoughts: Probably just omit the piccolo and have a 2nd flute player double 29-32 with the 1st flute...or just omit the 2nd flute/piccolo all together Same thing with the 2nd clarinet. I would have 2 players, with the 2nd doubling on Bb and bass clarinet. Quirky (mostly unusual) thing I noticed is that you have the 2nd instrument plays higher range/melodic material than the first. For example Trumpet 2 plays the melody (with the higher range) in measure 14-20. Same thing in clarinets and bassoons around measure 33. Nothing wrong with it...just unusual. Brass scoring a little awkward. I personally would take out trombones and tuba, and maybe the 2nd trumpet away as well. I would've had both horns play the parts you have for Horn 2 and Trumpet 1, with the melody solely with 1 trumpet player in measure 14 onward Not a fan of the glockenspiel in bar 14. I think that counter-line can be played better with the harp and oboe combination instead of the harp doubling the trumpet Nit-picky, but I would also have the basses do a pizzicato in 11 and 13. I would also have the cellos do pizzicato in measure 14 until the pickup to 18. I personally would also double the cello line octave lower in the bass to broaden the depth of sound (this is probably not written in the original score, but would be a nice orchestration effect). The material reoccurring in 21 can be scored differently than what came before in 10. I would have the melody in maybe oboe or English horn...or maybe French horn, with the harmony in clarinet, bassoon and/or horns. The bassoon doubling at bar 30 seems a bit much, maybe divide in octaves? I would not have bass clarinet playing there. I would also have the harp strum out the chords (or arpeggiate them somehow) the last couple of bars Scoring in general from 28-31 is a bit awkward In general, I think more care to the dynamic markings might also be good. I think I know why you did them (probably because of the audio mockup)...but just looks odd when there randomly fff in the passage where I think its suppose to be just f or mf. I also disagree about the use of "extended techniques" in this piece. The most I would do is maybe have the strings muted.

I'm not minding being spammed! I didn't have time to participate in the thread, but it's still informative. You obviously know what you are doing! Maybe I'll talk with you if I ever get away from the piano and chamber music and get to some orchestration...

Hallo @Thatguy v2.0, this prelude is a piece I very loved and I wish I had composed it! 😀 It opens with a subject that – at the first glance – seems to be Baroque-like but introduces strong chromaticism in its second half, so that in mm. 5, when the second voice enters, it reminds me of Bach’s B minor fugue from the WTC I (BWV 869b). But now, in mm. 9, comes the surprise. The mood changes to a more „romantic“ feeling with the arpeggios. And that unexpected change now reminds me at numerous preludes (or fugues) from Shostakovich’s op. 87. I didn’t make an in-depth analysis, but I can see how you have constantly took benefit from using the initial thematic material, which for me emphasizes the effectiveness of counterpuntal technique. Even if I did not recognize more complete entries of the initial subject, I have the feeling that motifs from it recur, even sometimes in augmentation. I enjoyed your effort on articulation, including the pedalling and the rubato, and also the key signature change to Bb minor (or is it Db major?). All in all, a piece very much to my taste. Full of counterpoint, but not in the “Neo-Baroque” style, rather with contemporary harmonies and dissonances and a slight touch of Romanticism! By the way, I’m very curious to know how you’re organizing your preludes (since this is No. 16). Is it a complete cycle based on 16 of the 24 keys? I’m really looking forward to hearing more of them—and have I perhaps already missed one?

They are college musicians (most are music majors), but some key players like the oboist and some of the strings are people taking the class as an elective. And this was a sight-reading session our orchestration class does in collaboration with the orchestra. Our final project is to orchestrate a piano piece and then we do (2) reading sessions with the orchestra. One with the rough draft (what I've posted), and then the final session (this coming Wednesday), with our revisions.

Hi there ..... I just listened to the rehearsal. Unfortunately, part of the problem might be the skill level of the players ... in the rehearsal posted .... the are problems with rhythms and entrances etc .... What levels are the players: community orchestra, high school, college? I understand this might also be the first rehearsal of the work. Good luck with the progress of the work. I myself had a community orchestra perform one of my works ... no comment! Mark

I did say I thought I wrote this in a doctor's office waiting room; maybe measure 5 was where they stuck in the needle...🫣

Your passion is very evident - and yes, I agree, I think DMs will keep from spamming the thread lol I will definitely try and post the final reading here though...I really hope I can polish this up into something Price worthy

lol, trust me when I say I am still learning every day. I am not that good compared to career composers or even some dedicated composition majors. Point is, it doesn’t matter. You are at a pivotal point in your journey and whether or not you think you’re good now, those thoughts won’t matter when you see your works on the big stage in a few years. For me, I am hungry for knowledge and consume information like a computer. I love music with my whole being and will only put my best in when exercising it. To add, maybe a DM would be better so we stop spamming the notifications of other users on this thread lol

@BlackkBeethoven Decided to look at it more in-depth: B. Beethoven - Fantaise Orchestration (ANNOTATED).pdf

So we have progress!! Fantasie Negre - ORCHESTRATION FINAL.pdf -- score starts at 0:25 in the video In the above screenshot from the score video, in that last measure, there is a V7 (6-5 sus.)...on the copy I was using, there is an error (G is held), and I kind of liked that sound for the orchestration, so I'm going to keep it as is. In my original orchestration, I liked some of the sounds/fullness I was getting at around 0:32, 0:48-1:02, 2:17-2:23, which I tried to maintain, but I also did a look at my score and saw where I had really clean drop-offs between players/parts, so that is my main concern. That and keeping the fullness going between parts, and that sustained pedal sound. I'm at 0:48 in the video so far in my edits. Let me know how I did! Thanks again for all the feedback!

Hello! This piece was one of my favourites to compose, sadly the software that i use to render the lyrics (Cantamus) didnt work nicely for the words: Cricket, Leap'd, Jump'd, Alive, Pass'd and Tra la la. So sorry for that! I hope one day they can update the software and its able to render it correctly! (If you guys have suggestions for free realistic vocal synthesizers i would be pleased to check them!) The story is about a woman and her beloved singer cricket, who sadly has passed. Alternative title (Detto lo) "lament for the death of a singer cricket." Lyrics: I once had a cricket green and strong and he went: tra la la la He leap'd and jump'd and sang, He did not use the common slang tra la la la Then one dark day he pass'd my cricket went away No more music no more dance, goodbye my cricket. tra la la la. I once had a friend that sang for me and he went: tra la la la But now he's not alive, And i still sing in the wildlife tra la la la No money in this world can buy my cricket back No gold coins nor golden rings can buy my cricket tra la la la. Poem written by: MYSELF! mixdown-_1_.mp3

Good round, though!

something seriously wrong with the forum..............Globally