Funeral March in C minor

The opening of this piece is very powerful. Solemn. / BR Tomas F.

I use GPO as well, and I can`t help but wonder, how do you get the cuivre effect? I love that effect :) : most of the recordings I like, I like because of how loudly the brass plays when its needed, but how do you get it using GPO?

I use the brass instruments' overlay FF sound in GPO, that's all...

I make up an expression that changes the channel to the one with the overlay sound when needed and voil

I was not happy with the mp3. Perhaps you want to place your work on Soundclick.com because it would be easier to download there (I want to download this piece).

PS

Here you go

Direct mp3 download. Can't get better than that...

An outstanding piece of orchestration IMO, which could well be used as the soundtrack to some dark gothic film (Batman, as someone suggested). The opening is indeed very atmospheric. The bass growls are effective but perhaps overused. My reservation is that it is slightly generic in its themes and harmony in certain places. I really enjoyed the crescendo and subsequent quieter passages about a third way through. I did get a big bombastic for my tastes here and there. General, a fine job.

In terms of bigness, musicality, atmosphere, purpose and 'coolness', I thought this piece was great. In fact, some parts were just awesome.

However, I didn't think it was so great in terms of re-listening value (perhaps too many repetitions?), twist (no harmonic changes popped out at me as being... inventive; maybe I'm just being a jerk, but I'm trying to get used to this critiquing thing), and depth (I have to say I did think the piece was lacking in 'intellectual' qualities, like counterpoint ).

I completely understand you're not in your prime or probably anywhere close to it, so it can't be expected that the piece was masterful; considering that, I say well done, better than anything I can do right now.

Good effort, but not nearly enough time spent.

Berlioz, did you take one of those days just to plan out and sketch everything? Or did you just straight compose for 10 hours in four days? Like studying, trying to cram a work of this magnitude won't get you very far, as is evident with the result. I'm working on a symphony and I just spent an entire week simply brainstorming and researching how I will orchestrate and reading about the instruments I will use. I am not saying this is the only way but look at any major composer and you'll see they all had a formal plan or conception of the piece already made either in writing or in their head. I am not saying you didn't do this, but I ask: Did you write this on score paper before you put it into sibelius? Did you playback sections with GPO to see if you liked it or not? Or did you hear the work in your head and decide that way?

Second: even though it's not a horrible work, it isn't quite nearly a decent one either. I have to side with Justin and a few others here in terms of blandness of harmonies and repetitious sense of pacing. It's constantly a dark shade of gray all the time for me. And although there are nice bright spots, they are too few and far between.

Third: I rather listen/study the Eroica's funeral march 100 times over before I begin doing the same for yours. This seems like a pale imitation of it and no more. If you disagree aesthetically with and absolutely hate the Eroica that's perfectly fine, but such a disagreement/intention to say something new and different is not at all apparent in your attempt.

To be honest, I've heard much more originality in your vocal works, I recommend extending your talent and abilities to creating an opera, so that you can have the comfort of your focus (vocal) while becoming familiar with the the world of the orchestra.

Best of luck!

Hehe. Thanks!

About not being like a funeral march... Well, it's like what I said in the first post. They're feelings of exaggerated pain, everything led to overreaction, to the point of leading to the grotesque, infernal manifestations that a mind going insane can bring, but all related to death.

All of that contrasted with the brief moments of "weird" calm and "bliss", if I may call it that. I can't really explain it better. :P

About the repetition, yes, if this is to be performed someday I'll undoubtedly review the score and add some spice to the repeated parts.

Amazing work. Stunishing really good ambience and the disonances are placed in the exact spots in my opinion. Love the developing on the first theme, good orchestration.

Perhaps I would like to listen a little more release but... who cares

Very well orchestrated, love how you use instrument sounds to create that "explosion" atmosphere (specially brass)

Hope to see more from you,

Sebastian

I couldn't say a whole lot that hasn't already been said. I do want to say a few things, though.

First, I love your low brass. I don't think you overused it at all. I also particularily enjoyed that three-chord resolution you repeat several times. I think you may know what I'm talking about. It reminded me a bit of the theme in Rachmaninoff's Prelude in C#m. I know I despise it when people say such things about my pieces, but I don't mean at all that it's derivative. I loved it; that's just the personal connotation it brought to my mind.

The negative, and I'm afraid there is some: the string section in the middle does extend a tad further than I'd like it too. There are bits in there that I enjoy, but overall it seems a bit too long. Also, the bells-I liked them, and I feel foolish giving this advice because no doubt you know more about this than I do, but beware cheap thrills. Bells are dramatic. They're, shall we say, and easy opening. I felt that your piece deserves a more original opening than three repeated tubular bell notes.

I did definitely enjoy this piece, though. I get along with anything minor!

I like it. Very dark...

Just some quick thoughts, might add more later.

Measure 49, high bassoon. Don't do that. We'll kill you. Cor anglais perhaps? Even so... you give no place to breathe, be aware of that.

To cut down on the relentlessness of the grumbly bass trombone, consider giving many of the parts to tuba instead, it has a broader, warmer sound that won't tire on the ear quick as quickly.

199 - why don't you mark that cello tremolo as well? With the three slashes, like you do with your timpani part. Reading notes and seeing the word "tremolo" is weird.

222 the impossibly high bassoon returns.

Agreed about the timpani - cut it down to just one player. If you REALLY need three timpani at once, you COULD feasibly ask it of one player, using two mallets in one hand. Even so, I don't find it entirely necessary. Remember that F and below on timpani often gets very muddy, you're low C might sound more like a bass drum if they don't have something like a 36 inch drum. :ermm:

At this point, I haven't finished listening to it as I actually have to head off.

I haven't visited this site in a while due to study, but I would like to say, that I am so happy to have the first piece I have heard since coming back to be this one :)

I personally found it, as much as I have listened at least, to be moving and I think it achieves those attributes that you desired. Well done, I truly loved it!!!

I look forward to hearing the rest of it as soon as I can.

Awesome!! I love your music! oops yeeeaaa, a little awkward. hm. but your music is beautiful.Good work!!

I can't explain it better..........:cool:

Since this is a funeral march i do like the very long parts from about 5- the end...its like the chest is being sendt to the graveyard.

But i didnt like that you put the peak of your march at the beinning...why not just cut a little down on the very long part from 5min and out, and but in some of the beginning at the end, so you get a climax at the end...that would make it more dramatic. you get what im saying?

Like a big chord at the end! or fanfare. but its your piece!

Very good. i like how much more mature this is than your other works. It has that true late romantic symphony feel to it. good orchestration too!

Good job as always ;)