Symphony No. 1

This is my first complete piece for for full orchestra. The playback isn't quite optimal: there's a couple spots where the tempo isn't right (should be obvious) and the balance between instruments isn't quite right.

All comments and criticisms are encouraged.

Symphony No. 1

Symphony1 v. 4.mus

Symphony1 v. 4.pdf

Symphony1 v. 4.mid

Ok, where shall we start.

I am assuming this is not a conventional symphony. If so, the orchestration is out, and everything having two parts per part is somewhat strange. And a marimba? Hmm... Also, on one occasion you had the two bassons playing an E an octave apart, then to the bottom one goes to an Eb but the top one stays as an E.

The modulations are not that smooth and those key changes are very abrupt in some cases - I am singling out the change of key to G near the end.

To be honest, I don't really see much happening in this piece and you can clearly see sections but not a lot of cohesion between them. It's very chordal and not rhythmic, even between instruments.

It is a good start, don't get me wrong, but I would say it had the feel of a prelude to an opera or an overture which could be used to open a concert.

Don't give up and don't get too upset with what I wrote. It's only my opinion for a start.

Just based on quick listening, Bar 13 - 20 reminds me of Schubert's Ave Maria. This part was repeated later. The overall feel is very much like a pastorale to me.

Thanks for the feedback, guys. Orchestration is one of the main things I was hoping to get input on. For my next full orchestral piece I'm trying for something with a lot more color and depth.

Thanks for catching that mistake in the bassoons, Anthony. The upper part is also supposed to go to Eb, somehow I never heard that or noticed it in the score.

I actually forgot to throw in a disclaimer about the misleading title of this piece, it's definitely not a Symphony, which I originally thought it might become. I simply have been using it as a working title until I came up with something more appropriate.

WHAT IS WITH PEOPLE SPLITTING OF THE PARTS?!?!?!?!?!?!?!?!?!?!?! :angry:

/rant

Use the range checker. Impossible Oboe and and Cello parts after looking at the score for all of 2.48 seconds.

Edit: I will look at it more thoroughly later when I'm not busy.

WHAT IS WITH PEOPLE SPLITTING OF THE PARTS?!?!?!?!?!?!?!?!?!?!?! :angry:

What's your beef with the splitting of parts?

What's your beef with the splitting of parts?

• It wastes paper.
  
• It clutters the score.
  
• It makes the staff size smaller.
  
• It makes the score confusing at an instant's glance.
  
• The parts are similiar enough to allow them to be on the same staff.
  
• The parts are similiar enough to warrant them being on the same staff.

Just to name a few. :P

I think the words you are looking for are "staff" (singular, "staves" plural), "similar" and "warrant"...

And just so you know, there is absolutely nothing wrong with a score set up in this manner. Many publishers prefer this lay-out over the "clutter" of multiple voices on single staves.

It remains a purely personal choice.

I think the words you are looking for are "staff" (singular, "staves" plural), "similar" and "warrant"...

;)

And just so you know, there is absolutely nothing wrong with a score set up in this manner. Many publishers prefer this lay-out over the "clutter" of multiple voices on single staves.

It remains a purely personal choice.

'Tis true Qc. But I think it's just easier to read with single staves. When the parts get SO clutered it's hard to read with different voices, then by all means, split them. But I see no reason to do this always.

:hmmm:

• It wastes paper. [Gonna get printed on either way]
  
• It clutters the score. [As opposed to cluttering the staves?]
  
• It makes the stave size smaller. [get better glasses, or bigger paper]
  
• It makes the score confusing at an instant's glance.
  
• The parts are smiliar enough to allow them to be on the same stave. [fair enough]
  
• The parts are smiliar enough to warrent them being on the same stave. [maybe, maybe not]
  

*shrug* Personally, I'd find it less confusing to see each part notated separately. I don't want to have to decipher anything when I look at a score....

But, that's just me... Perhaps if you're working in a very traditional setting, never voicing out of order (i.e. 1st clarinet ALWAYS has a higher note than 2nd), and not using any same-sectional counterpoint, go for it. Seems a bit square and dated a concept for me.

ANYWAY....proceed.

----

[edit]

...there is absolutely nothing wrong with a score set up in this manner. Many publishers prefer this lay-out over the "clutter" of multiple voices on single staves.

Hooray!

And a marimba? Hmm...

What is the slightest bit wrong with having a marimba in a symphony?

What is the slightest bit wrong with having a marimba in a symphony?

Nothing. It's just a little bit odd, that's all.

The cello parts at 22 aren't too high...but write them in treble clef!

It is quite traditional sounding at first. I do appreciate the seventh that comes up in the melody. The brass gets dark and blurry. The piece seems to change mood a lot.

One thing I think you should go back and fix to really shine it up are the dynamics and most importantly the tempo. Either learn the importance of a changing tempo, I mean really strive to learn it or write it how you think it should be nonetheless. Every note counts and all the good composers retune their pieces over and over so there is no way you can't make this a whole lot better just by doing those two things.

Every note counts, so don't be lazy enough to keep the notes in a single harmony the same. You can strengthen the fluid process of harmony by melodically arranging the notes, for example the dark brass, or spread these notes out to make the chords bolder, even creating a brief descant.

Don't be afraid of all the rules. They're made to be broken so you might as well break a few along the way without knowing what you did. So people can correct you, or you can tell them to shut it. Whatever floats your musical boat. Just don't be lazy is all I'm going to say. It seems like you put some nice thought into this piece, but don't end it. If it doesn't feel right, don't ever end it.