Fervor for Concert Band

This is my first finished composition scored for a concert band, it is currently in the process of a revision to call for a fuller ensemble but here it is. Please give it a listen and critique...hope you enjoy it.

Fervor new layout.pdf

Fervor new layout.mus

Fervor new layout.mid

I added a midi above since I realized that most people probably don't have Finale 2009.

Not a bad first attempt at all, everything seems reasonable. I do have a few suggestions in general.

1) You have a tendency to write sequential passages that are very predictable. Any time you have an opportunity to break up a scale, sequence or arpeggiation to provide interest and contrast, take it. There are a lot of up 2 down 3, down 3 up 1 sort of things going on. If I already know what you're going to do next, what reason do I have to continue listening?

2) The harmonic material is very static. If you use too many triadic harmonies consecutively that are completely diatonic, everything starts to mush together. This is compounded by the fact that the texture is very consistent throughout, so there is nothing that defines one section from another.

3) There doesn't really seem to be any clear contrasting section or material. I find that my greatest weakness in my own music has been my reluctancy to utilize space as a compositional tool. I think this applies here as well. If you have a more tranquil section somewhere to break up all of the contrapuntal/scalar things you have going on, it will make the intense sections more intense through contrast.

So, I think you are on the right track, just a few suggestions. I don't mean to sound too critical of the work, I think there are some very good ideas. These suggestions can be ignored just as easily as they can be utilized in your music.

Good luck, and keep writing!

I just had time for a quick glance but I will say your notation needs work. The are lots of collisions and your score is extremely crowded and messy. Also, your insistence on using single eighth notes and 16th notes instead of staccato quarters/eighths makes the page look cluttered and very difficult to read. For example: m.61, Bass Clarinet, your rhythm is 8th, 8th rest, 8th, 8th rest, 8th rest, 8th, 8th, 8th rest. Wouldn't it be much easier to read and less cluttered visually as: staccato quarter, staccato quarter, 8th rest, 8th, staccato quarter instead? There are a lot of instances in the work that should be modified like this to make it easier to read and less cluttered.

Other notational issues: when you have 2 sets of 16th note triplets, they should be notated as a sextuplet instead. In m.6, the tenor saxophone line, while playable, might work better if you shortened it by an octave (i.e., start it on the upper A). If you decide to keep it as is, please correct the notation so that instead of 3 triplets, just mark the entire run with a "12" designation (in the tuplet definition window, you'll set it up as 12 32nds in the space of 8 32nds).

All key changes should be marked with a double barline. Likewise, in most instances, major changes in feel or tempo should also be marked with a double barline (example: m43 at the Presto).

Turn off "Extend beams over rests" and "Display half-stems for beamed rests" in Finale's Document Options.

Musical issues:

My biggest musical concern is the lack of contrasting lines or countermelodies; with some exceptions the piece is fairly 2-dimensional. The area of m.120-126 is better in this regard, but still I think the piece needs more movement within the parts than you have put together.

There are several sections where you attempt pianistic effects that simply will not work the way you are picturing them. For example: m.97-101 in the flutes and oboe, or m.20-27 in the brass. I can tell in the latter that you're attempting to do some kind of an approximation of an arpeggio with the sustain pedal, but in actual performance the effect will not work as you've notated it.

Most of your trombone glissandi are not possible.

Don't use "8va" for wind instruments - ever.

Your piccolo part divides - most bands have only a single piccolo player.

Your percussion part needs to be completely redone, it is unacceptable as it currently is written to give to a player.

The piece definitely has potential, but I'll agree that jasontbuchanan's comments above are points I would like to see you work on. I like that you've grasped that the Bb Clarinets need to be treated as 3 separate entities - most novice band composers don't understand that. On the other hand, you need to learn the same thing for the flute section. I would encourage you to add a separate 2nd Flute part and rely less on doubling with the piccolo. Treat the piccolo as a single player, not as being equal to a massive flute section.

So... good job to start with, I would very much like to see you re-work this piece as it has potential.