Concerto for VIola and Strings in baroque manner!!

Hello from Mexico!

A little words about my first work that i post here!!!

I would like to hear advice on how to improve ...

Is a concert in the traditional Baroque manner, explores the full range of the viola with the orchestra in the background ... the concert was written in half a year. I am totally open to suggestions, please do it.

For me, the concerto is a delightful work, displaying the full skills of the performer. The work is deeply rooted in the Baroque style but also takes some liberty. That is: rigid structure, piano to forte dynamics, and the three movement form.

The concerto, in F Major, starts with a technically challenging Allegro maestoso due to it fast scale passages, and full use of the instrument. It is physically challenging due its large number of notes and a lot of playing for the soloist.This concerto is definately focused on the soloist with the orchestra acting fully as backup.

The Grave molto espressivo provides a dramatic interlude. The solo line drifts over the orchestra line and as one crescendo the other decrescendos. It seems that the two parts are in a continuous harmonic battle. Finally, after the viola's last word, the work drifts off into a uncertain ending.

With a lively theme, the Molto vivace-giocoso molto maestoso trots onto stage. This lively movement closes the concerto out whit a theme of fast arpeggios and virtuous expression. Skipping thought the range of the viola, modulation to D major is a small respite from the seriousness of the previous theme, The concert ends whit the tonic chord...

Enjoy...

For anyone who wants to interpret it, please send me a message and i will send the parts.

Emiliano Arroyo C.

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PS: sorry for the low quality of MIDI files i also have mp3 files but i cant uploaded.... also NEVER A PROGRAM COULD SOUND LIKE YOU IMAGING... WHEN I COMPUSE NEVER USE THEM... so please take in count when you ear this file!!!!

2 mov- Grave molto espressivo.pdf

3 mov- Molto vivace - giocoso molto maestoso.pdf

1 mov- Allegro maestoso.MID

2 mov- Grave molto espressivo.MID

3 mov- Molto vivace - giocoso molto maestoso.MID

1 mov- Allegro maestoso.pdf

Welcome to YC

Please post a link to a mp3 so we can hear your music.

Ron

well i will try to post the mp3file soon.... sorry

Hello

i have uploaded the MIDI files... please ear it

This is a very nice piece, and I'm glad to see you using the viola in this way. I have a few comments on the first movement, and I'll probably come back and do the others;

mm 6-7 - I like the way you revoiced your chord to avoid a harmonic syncopation - that having been said, I don't feel like there's enough going on between the end of your first tutti and the entrance of the solo viola. Maybe using a 4-3 suspension in the viola, carrying the Bb over from measure 5 and resolving it on beat 3 of measure 6 would help. Re-voicing your chord in mm 5 to allow a 9-8 over a 4-3 may not be a bad idea, either. In fact, I'd use more suspensions in general.

mm 19 - how do you want your violist to bow the triple stops? An upbow and downbow triple stop sound completely different, so unless you want to leave that up to the performer, I would notate the bowing there (just using a double down or down-up would work). Actually, whenever this occurs, you may want to include bowings to indicate if you want the up or down bow stop (as I said, they sound completely different)

You have several instances where you set up a pattern for the soloist and then abandon it without taking time to develop it. This occurs first (that I noticed) in mm 19 (with the triple stops), then in 24, and then in mm 55. The one in 55 was especially frustrating, as the bow technique you're asking for is 1) not a Baroque bow technique 2) Not usually used for a viola and 3) sure to draw attention.

Instead of using a key signature change, common practice within a piece (in this period you're writing in) would be to write out the accidentals unless modulating to a foreign key for a very extended period of time. Since this is a standard modulation, I'd really just stick to the F-Major key sig. More people will be thrown off by the key change than the accidentals.

This is a very nice piece, and I'm glad to see you using the viola in this way. I have a few comments on the first movement, and I'll probably come back and do the others;

mm 6-7 - I like the way you revoiced your chord to avoid a harmonic syncopation - that having been said, I don't feel like there's enough going on between the end of your first tutti and the entrance of the solo viola. Maybe using a 4-3 suspension in the viola, carrying the Bb over from measure 5 and resolving it on beat 3 of measure 6 would help. Re-voicing your chord in mm 5 to allow a 9-8 over a 4-3 may not be a bad idea, either. In fact, I'd use more suspensions in general.

mm 19 - how do you want your violist to bow the triple stops? An upbow and downbow triple stop sound completely different, so unless you want to leave that up to the performer, I would notate the bowing there (just using a double down or down-up would work). Actually, whenever this occurs, you may want to include bowings to indicate if you want the up or down bow stop (as I said, they sound completely different)

You have several instances where you set up a pattern for the soloist and then abandon it without taking time to develop it. This occurs first (that I noticed) in mm 19 (with the triple stops), then in 24, and then in mm 55. The one in 55 was especially frustrating, as the bow technique you're asking for is 1) not a Baroque bow technique 2) Not usually used for a viola and 3) sure to draw attention.

Instead of using a key signature change, common practice within a piece (in this period you're writing in) would be to write out the accidentals unless modulating to a foreign key for a very extended period of time. Since this is a standard modulation, I'd really just stick to the F-Major key sig. More people will be thrown off by the key change than the accidentals.

Hello!

First I want to thank you for taking the time to listen to my work, I am very grateful.

As I said this is just a test, in my latest version I marked the bows (the ones my teacher suggested) and soon will update this version, by the way the triple-stops are down - down bows ...

I will also correct the change of key signature.

And about 55 mm, I am thinking of taking that path, which can make it easier for the soloist, or leave it as it is for those who can touch it. (as i think a concert should be technically challenging, however the technics como second on music, so you see my dilema)

As I said above I am very grateful for your comments and time invest, and I hope your next comments

I agree, and i think the technique fits the piece well. I don't, however, feel like you should have only a single measure of it.

Hey dude! You asked me to check your piece but i didnt have time so I comment it now. Sorry for that.

It's a great piece. I dont like to write "classical style" music I like filmmusic better. In filmmusic you can have your own style. Morricone's style different from John Williams and JW style from Hans Zimmer or Danny Elfman. You can easily see that.

But when you try to write classical music...uhm..it's harder cause it sounds always the copy of the "greats" (Mozart, Liszt, Beethoven...). Your piece is great as I said but it's too mozartish I think. It's not original enough for me. You know when you write classical music you can also have your own style (Liszt music is different from...blabla). But it's not your style! As it sounds as it behaves, it's just a "copy". A good copy of course, but I dont feel that it's your own unique style that's my only problem anyway well done!

A last thing: In the cadenza section at the end. I'm sure that a solo violist can't play it alone. You did the same thing as me when I wrote my Etude for solo violin piece. One player, a solo player can't play this cause there are notes that a player cant hold at the same time.

All in all I liked it but take into consideration what I wrote. Peace. :thumbsup::cool:

thank you i will make some corrections ... really helpfull

You cannot load mp3 files here at YC. You need to have them hosted at a different site and then provide a link to them here. For example, I use boxnet to host my mp3's. It is a free site and works well for me. Some people use soundclick and many other free sites.

So if upload your mp3 to a host and then add a link to that site to your original post, more will listen to it. It also helps to listen and comment on other's works here as well. Many will return the favor.

Ron

edit: If you are not sure how to do this, PM me and I will give you a better explanation.

Very Delightful!

M

thank you

the non harmony tone . you have to study by them . becasue i dont know what you use on the non harmony tone

It's nice to see something for viola (my main instrument is the viola and it's hard to find good show pieces sometimes).

I feel that, overall, your piece is great for a first work, although it tended to lack melody in many parts (melody is something I'm a bit of a stickler about). Other than melody, your piece had no real major problems.

The minor problems (in my opinion) are that the piece sometimes wandered away from Baroque style (which isn't altogether a bad thing) and that some of the chords are... awkward.

For example, in measure 19 of the first movement, the two triple stops are a bit annoying to play and might not yield the same quality as having just the sixth (just the A and the higher F). Another example is the chord in measure 5 of the third movement, where it would be impossible to play without breaking the chord, which usually doesn't sound as good as it would if you were to change the low A to a D so that the chord was F, D, A, F (reading bottom-to-top). Weird chords, although being more technically difficult, aren't worth it because they tend to sound worse and much of the audience wouldn't notice the slight change in the chord it would require to make it easier to play.

The last thing I noticed was that there seemed to be a bit too much jumping from the high register to the low register (and vice versa) for my taste.

For example, in measures 13-14, the phrase ends an octave below where most of the phrase was situated. In this case, I would suggest moving the A up an octave. (Maybe it's just me, but it sounds odd.)

Just for a few good reference pieces for viola, I would look at...

Hoffmiester Viola Concerto in D (especially the 1st mvmt):

YouTube - Beijing viola competition??hoffmeister 1rd mov

Telemann Viola Concerto in G:

Reger Viola Suite, 4th mvmt (maybe: it is far removed from Baroque...):

Anyways... I think the piece is good and it is great to see something for viola. :D

It's nice to see something for viola (my main instrument is the viola and it's hard to find good show pieces sometimes).

I feel that, overall, your piece is great for a first work, although it tended to lack melody in many parts (melody is something.........

:D

Very much thank you --

Yes, i have been correcting some stuff and i will soon upload the final version (i hope)... the chord that you are referin has been corrected, and about the jumps some has been corrected (thank you) and some are still there, mainly because after all it is a concerto , and i will not make it easy to play...

By the way if you let me i will send you a copy of the final version whit solo and piano part... that goes for everybody who wishes to play it---

By the way if you let me i will send you a copy of the final version whit solo and piano part... that goes for everybody who wishes to play it---

Or you could just post the finished version... :D