Leaderboard

Hello everyone, I am back to feature an overhauled work of mine: The Tuckasegee Flyer. CONTEXT: Originally written in 2024 by commission from my friend, Brody, this work was meant to accompany a YouTube video series he was creating. Two years later, and during this summer, I felt in a trough of composition. I have sketched a lot of ideas for themes or independent phrases, however, I had no passion or inspiration to make them into full pieces. So, after looking through my file system, I looked through this work and immediately, I had ideas. This work is an orchestral depiction of what it feels like to ride behind a steam locomotive as seen or felt by a passenger. If you would like to know more specifics and a longer explanation of the work, go to the 3rd page of the PDF (which is listed as page 1 due to the front and back of the cover page). Thanks for viewing my score and taking a listen! (Comments welcome) This work in its current state would not have been possible without the support of friends and fellow composers. Big thank you to @UncleRed99 for his help with understanding brass ensembles as well as non-YCF composer @Arbolav for his help in the development. You two elevated this piece and I am forever thankful! The Tuckasegee Flyer_AUDIO.mp3 The Tuckasegee Flyer_SCORE.pdf The Tuckasegee Flyer_SCORE.pdf

Here's the first bit. The rest will come in about ten days' time. See what you think. I wish I were still at high school - I'm much older though still lively, I hope. JSWRM Pericles.pdf

My dear fellow composers, after some weeks of quiescence, I’m presenting to you today my first attempt at orchestrating an existing composition for a full symphony orchestra. The „sketch“ I have chosen is a composition of my own, a huge six-part quadruple fugue for piano in B minor, from which I picked the fourth episode being a transitional section between the development sections. I especially love that section for its modulations, its slow arpeggios and the interwoven voice leading, which finally leads to a calming point on a diminished seventh chord before starting the next fast development section. As I have no experience in orchestration for an entire ensemble, all kinds of feedback are appreciated. During the last few months, I thoroughly followed the excellent reviews of @MK_Piano on orchestrated scores, so that I hopefully got around with the most obvious pitfalls due to its help. However, there are a number of open questions remaining. I hope, you’ll enjoy the piece. Wieland Episode4-Symphonic-Fugue-B-minor.mp3 Episode4-Symphonic-Fugue-B-minor.pdf

Ollo! I will be looking at this score soon and giving some feedback. To preface some the explicit comments I will make, there are still a lot of engraving errors within the score. 1. Page Margins. I tried printing the score from my Google Browser and it increased the page margins of your document/ made the score smaller to fit the page. I would increase the margins by default. 2. Having multiple colors within the engraving. I can understand doing this for pedagogy or analysis, however, for publishing and performance, do not add multiple colors UNLESS it is for specific reason (i.e. Contemporary/ experimental music). 3. Clefs. Glockenspiel does not read a 15ma Treble Clef. Tuba does not read in 8vb Bass Clef. Piccolo does not read 8va Treble Clef. They all read the normal versions of the clefs, however, the concert/ sounding pitch may be in those ranges. 4. Rests. Even in 6/4, 3/2, or 5/4, an empty measure is represented by a singular whole rest, not the dotted whole rest. To add, in the current version of the score, they are all offset. An empty measure needs to have its rest centered on the bar. 5. Rests again. I will make specific annotations of this comment. 6. THE HARP. The harp is not a piano, and comparing to your Piano score, it feels like you dragged piano elements to the harp. To emphasize some of their differences, harpists DO NOT use their pinkies when playing. So, some intervals or passages/ groupings of notes, can become impractical if you just copied it from a piano part. 7. Harp Pedals. They do not need a pedal diagram for every change. A simple, and clearly placed letter will be enough to show which pedal to change. To add, most harpists will just write one in if you only pedal charts. It's visually redundant for performance (in my experience) 8. The Key. Your Title says B-minor, then you open the piece in Eb-minor and end it on a C# half-diminished chord. So... which is it? Are we really in B-minor? I didn't see the key signature for this mode at all. (I have not done any harmonic analysis at the time of this comment) I will highlight some of these comments over the next day or two, however, let these serve as some food for thought. Good work!

Good to hear from you. I'll send the 'Pericles' libretto in about a week's time. I shall be away for four days next week but will send it on after that. I may get the first scene out to you today - it's an extended musical section. The play dates from about 1611. You may think the lyrics too elaborate for a renaissance/baroque setting but at least you can have a look. I'll include a summary of the plot. The original play is a piece of romantic magic realism - lost daughters rescued from the sea etc. My version has some dialogue linking songs but not a great deal of it. The music carries most of the story. Till later with best wishes, Riccardo

I don't use DAWs , my main music notation app is MuseScore , also the section that you mentioned as a bit repetitive is my attempt on a tocatta and also I am not formally trained musically as I mainly go to online sources for music theory The reason why I marked Opp. is because it is a bunch of other works that would be transcribed into solo piano Anyways , thankies for the feedback