Sinfonia D major

Hey! A new project of mine! Its started as a double concerto for flute and oboe, but i made it in a very loose form so mabye its more suited as a sinfonia. Hope you like it.

Midi:

[ATTACH]15689[/ATTACH]

Score:

[ATTACH]15690[/ATTACH]

Mp3:

SimenN on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

Darn -.-

Unconstructive comment as usual, it sounds really good imo :S

>.<

:-O wow, I'm impressed.

the piece has some magic

really energetic... it kind of feels like a great great unstopable and inevitable construction going bigger and bigger.

Remindes me a real lot to a Bach's Two Parts Invention (I think No. 4)

a good and inspiring listening

edit: but you should maybe change the "sinfonia" xD

Thank you guys!

Congratulation my Friend!

An AMAZING WORK and shows your improvements in writing and in leading musical sentences into a wonderfully clear piece of wonderful music!

FINISH THE OTHER MOVEMENTS and then post it into the "major works" forum which it deserves that place :)

I disagree. It isn't a major work. It sounds like bad Bach/early Mozart with too many sequences and no true harmonic depth. If you're trying to write in Baroque style, then it's fine if you ignore the rules of Baroque counterpoint (parallel 5th etc.). While one's effort is appreciated, it's not worth more attention if it has been done already.

Thank you friend, glad you like it! Oki Justin, to bad you disliked my "bad Bach/early Mozart". Just by your comment its clearly you know little of baroque style. This does not even come close to the north german style of Bach or to early mozart? Well if you think of it as an italian baroque inspired work. Ever heard the expression guideline? But thanks for listening :)

This is certainly an attractive composition but I have to agree with Justin somewhat in that it probably uses to many sequences. Also the opening basic arpeggio theme seems like the weakest part. Subsequent material is much stronger IMHO. It has however a rococco charm.

its funny how the real composers dont even bother with libraries..not that there are bad ones that using, but i'm pretty sure this piece is awesome in quality,no matter on which library it is played.

too much sequencing...hehe thats a good one, show me your lack of sequencing then.

a quick note- if one voice has a fermata, they all should.

Also, forgive my asking, but why write something like this? Do you plan to have it performed?

Hehe, well i ofcorse i hope it will, why do you write music? well my reason is, giving other people pleasure aswell as myself.

I like it very much my only problem with it is that it seems like it never just settles down like it has a constant eigth note beat running through your head. This may be the style your writing in but you have to think bout todays listener they might be a little bogged down by this. So a little contrast could be added to help keep it fresh again good interpretation of the style but you try and form a style to your own.

Hehe, well i ofcorse i hope it will, why do you write music? well my reason is, giving other people pleasure aswell as myself.

I don't know- I write music because I can't help it. Even if I wanted to stop, I can't. But I wonder about writing "in the style of" or "in the manner of" a lot. It's just not something I consider doing unless a guaranteed performance is involved.

it seems like it never just settles down like it has a constant eigth note beat running through your head. This may be the style your writing in . So a little contrast could be added to help keep it fresh again good interpretation of the style but you try and form a style to your own.

wait till you hear be bop, for the first i heard it i thought its massacre to the ears and i didnt understand why would someone want to hear these awful fast notes per second...i think there are some styles that talk more to musicians, and that musicians being already covered the mainstream stuff can enjoy only stuff that arent.

I can't really understand that but I was trying to say that this is too much to handle by itself it needs some contrast to make it a little broader

the proportion of that amount of notes you spoke of is function to whom is listening.

most people cant hear avant garde music, or free playing, A tonal stuff, but some can, and enjoy it.

Very good! I enjoyed it very much....but. Since I've started playing in a band I take much care for the orchestral parts in my compositions. Before that I used only one part for each instruments but I realised that usually there are 2 oboe 2 clarinet parts 4 horn parts get it (the 4th playing the most dumb melodies (this is me with my french horn :D) the 1st the harsedt and usually highest parts)? QCcowboy said to me that I use too much unison parts and I didnt get it. But I understand now. So I suggest you the same. It sounds good (your piece) but when someone to play it it's not too good if for example all the clarinet players play the same melody. It's just a suggestion, now I try to make my score readable and I take care of reality much more.

its funny how the real composers dont even bother with libraries..not that there are bad ones that using, but i'm pretty sure this piece is awesome in quality,no matter on which library it is played.

too much sequencing...hehe thats a good one, show me your lack of sequencing then.

this comment makes one suspect you might have misunderstood the original comment...

"sequence", in this case, does not refer to a software program for entering music (ie: "a sequencer"). It refers to a particular harmonic pattern called a "sequence".

In many ways it is the double concerto you described.

Very baroque in style but I can definitely hear a bit of Mozart's charm in it. I love the sequence after the second fermata. Like c7music said, as far as the fermata goes, add the articulation to the other voices. Good job, though, and I can't wait to here the other movements. Would love to see what you could do with an adagio.

A few thoughts, organized as I encounter them.

1. Opening; I really don't feel like your opening (the first 40 measures or so) is especially effective with the length you've used. I feel like this could be much shorter, with a fermata only at the end of mm 4 - the other ones just don't fit the character so well. Also, I'd consider using the 3-measure arpeggiated figure as something other than a static chord. It may work well to use a I-I6-V figure, or something similar, with the minor section being a i-ii6-V, or whatever.

2. Sequencing - I'm not bugged by your sequencing; this is a cornerstone of baroque writing. I would, however, switch between tonal sequences and exact (or perfect or literal or whatever term you use) sequences, and use sequence with alterations here and there to give a stronger sense of motivic development.

3. Instrument range-usage - Your double bass goes below playable range. Unless writing FOR an ensemble with a 5-string, this isn't advisable, especially since that kind of goes against the whole "period writing" thing. Also, I don't feel like you use your solo instruments effectively in your opening section. All of the "I'm just embellishing a chord for a few measures" figures would work equally well as ritornellos. Also, if writing a contrabass part that simply doubles the cello, combine it onto one staff, especially with the font size used.

You also haven't written in a single bowing-tonguing, etc, etc marker. Are you telling me you want the strings to take every note on a new bow and have the winds tongue EVERY note? A recorder will typically use a soft tongue on every note, but this is not practical for oboe (and impractical for the modern flute).

Your articulation is inconsistent, which doesn't fit the period you're writing for. It may be more effective to use bowing indications and tonguing/phrasing indicators, which will give the effect you're looking for AND be much easier to read/interpret.

4. Score cleanliness - When copy-pasting, please delete the tempo indicator to make it less obvious that you're copy-pasting. Please fill in each measure with the correct number of rests, and make your rest usage uniform (IE; if the cello gets a dotted quarter, so does the bass, etc, etc). Also, your primary motive would be better notated as eighth quarter-tie-quarter eighth rest. The way you've written it obscures the meter.

As already mentioned, ALL instruments get fermatas, dynamics, etc, etc. On the topic of dynamics - it gets really boring when your only switches are from loud to louder. Use the full range of your dynamic spectrum. If you want to be "period accurate" then just use pianos and fortes, with MAYBE a FF to signify a climactic moment (but I wouldn't use more than one or two).

Thanks for you comments guys :D

j

Simenn I like it very much. I wish I had as good of a grasp on Baroque writing as you do. As you know my baroque attempts come out sounding futuristic or modern. LoL.

Here I have run your midi file through my sequencer for you so you can hear it with better samples. Feel free to download and keep it.

SimennSinfonia.mp3