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maestrowick

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Everything posted by maestrowick

  1. The String Quartet makes up of three melodies I have used before I orchestrated them for Symphonic Suite No. 1. five movements: 1) Chorale and Prelude 2) Webern (2:28) 3) Cantabile (4:05) 4) Giacoso (6:11) 5) Gigue (7:23)
  2. Man, this is the start of something beautiful. This starts as a american style march. I think it's DYING for either that recapitulated A section to either be in a different register or added counter melodies. Something needs to be different. The modulation to Ab needs to be notated and the Coda needs to be MOLTO BRILLIANTE! It's missing that final stab. you tweak this, this could be a standard! My 0.02.
  3. Not really dramatic: It does flow however like video game music. (nothing is wrong with that) 1) Write the strings for full orchestra, not violins. 2) with the aforementioned, make sure you write "divisi" so they know how you want it played (if you wanted that) 3) Your piano part seems more improvised than an actually melody. If that is the case then write the changes so the pianist knows.
  4. Updated a better mix: my first mix SUCKED!!😀
  5. 1) Your VSTs are awesome 2) Your harp part does have some significant problems. Why are those arrows on the top of the barlines like that? That's not where it goes. They should be next to the notes. By default, the gliss goes up so you don't need to do that. It's already understood. Additionally, you have some five note parts in the right-hand which is a major NO-NO!! The most notes the harp can play at one time is eight, not ten. Also, you don't want to stretch hands generally more than an octave. Tenths are a pain especially when you add other notes in it which don't allow the harpist to play chords easier. 3) Melody I see is NOT your problem. They are gorgeous and so catchy. That is a gift. Add some counterpoint to strengthen your melodies. Maybe a clarinet during that harp solo? Countermelodies (CM) are missing in this overture. You actually won't need to write something new because you have enough melodic material to borrow from. Example: Even in this theme, he develops density although there's not a strong CM in the first introduction of theme. but notice how he changes the color with the flute. The CM is faint but the movement in the strings and harp are clear. At 2:29, the horns have the CM. It's VERY present. Then at 3:02, it's VERY present as he builds density by adding the trombones. This is why it works. The themes are clearly developed. Even in an overture, the themes are developed; it's not a snapshot.
  6. Fondamentalment, homophonie est les memes chose à les cantiques. basically, Homophony is the same thing...or same principals that make hymns. I am glad I can teach something! :)
  7. Merci! Je essaient de parler français depuis un moment. Je n'ai jamais le parler ici cependant. Aussi. Postez plus de votre compositions si vous plait! Thank you! I have been trying to speak French for a while. I never get to speak it though. Also, post some more of your work!
  8. Here is my piece for Voice and Orchestra featuring Robert McNichols, Jr.
  9. Ca va! J'aime ecouter à votre composition. Il faut ajouter plus de contrepoint à votre mélodie. C'est un bon début; cependant, ne restez pas avec des textures homophoniques. Ecrirez plus!! Hello! I enjoyed listening to your composition. You need to add more counterpoint to your melodies. It's a good start; however, don't stick with homophonic textures. WRITE MORE!
  10. 1) This is a good start. It's DYING for more counterpoint, 2)Man, PLEASE fix those double flats in your score. I would be SO MAD as a performer :)
  11. I want to first say "bravo" to this piece. With that being said, I shall give my critical analysis. 1) Typesetting: Your score is BEAUTIFUL. Generally, style and bowings are italicized i.e arco and pizz. It does seem a little weird not seeing that way. Reference: look at the scores of Beethoven and Mozart. It's ALWAYS that way. 2)Measure 15. Hmmm, I wonder what would happen if you had the violas play the D3 and B3; instead of the divisi in the 1st Violins, you have the 1st play the high octave and the 2nds play the lower octave. 3)Measure 69 - 90: I STRONGLY disagree with that orchestration. There's no reason for the 2nds to play higher than the 1st,. That divisi in the violas is going to get lost. I know you want that C3 to pop but it may be better to have that in the violoncellos. Then have the whole viola section play that. You are going to have balance issues with a live orchestra with that. Reference: Daphnis et Chloe. 4) measure 91) Violins like fifths better fourths. I get WHY you wrote it that way. It MAY be better to split that like this: violin 1 (Bb3 and F4) and violin 2 (Ab3 & Eb4). 5) Your sound space is gorgeous. It's obvious you have a command over the textures and melodic density. It seems though that the textures can be expanded more. If rhetoric is defined as "the art of effective or persuasive speaking or writing, esp. the use of figures of speech and other compositional techniques," then I believe these melodic statements are under-developed. Measure 29 comes to soon. This opening fugue-like material at the beginning can be developed probably another 2 minutes. It's so tight melodically, Meas. 29 is too abrupt. Honestly I feel this way about a lot of sections in hear. This piece if developed more could be a 15 minute epic! My $0.02
  12. I shall I shall I shall! Anything you want me to check out first!
  13. On a critical note, I wonder if you can add more movement. Meaning, instead of just having block chords, how about delaying some of the chords. Also, add more to the music vertically. You obviously have a great sense of melody and chordal planes. My $0.02
  14. don't know how I miss these!! NICE!!!
  15. Ab to Gb/Ab (or you could say Ab9sus4 at that 2:54 mark.
  16. The only thing I'm going to nick-pick about this wonderful composition is that you should change "Contrabass" to "Doublebass". Don't mix the instrument languages. Contrabass is French, Doublebass is English. Speaking of language, you use the German language for the opening style. In American typesetting, you use English or Italian (a weird orchestration/typesetting rule). Something to think about,
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