samson and angela

Originally Posted by darkangel2008hk

1 flute

1 timpani

1 piano

1 harp

this is my work for brother and sister forgiveness piece

samson is my brother , sister is me and i used this our name to build up a oriential msuic , The angela name consist G-F#-E motive and the Samson consist a E-E motive so there 2 theme combine develop into a 5mins music

the structure will be A-b-A , the section A is the emptyness , the section b is the homophony section and also a climax section , a lot of canon bewteen flute and timpani

a lot of great contrast on dynamic and the dynamic is also sightly variation on the same object from the music

you can see the nonchord notes will be belong to angela theme but samson theme is main harmony chord and you can see the harmony is very bitonal

the chord(A-C-E) will be contrast with (A-C#-E) to create the bitonal sound on the music ,However the bitonal is a part of samson theme and angela is not a bitonal theme but it change the chord a bit from (F-A-C-E) to (F#-A-C-E)

dark-princess

angela and samson - Folder Shared from Box.net - Free Online File Storage

Hello...

This is a private message I've sent to darkangel2008hk on the 27th of july...

First I want to congratulate you! I'm glad that you're looking for novelty, I see that you used here the alpha chord (A - C# - E - C; you can add a G , it will be complete ;) ), Bartok used it a lot, Ligeti, Stravinsky and many others after them...

Now... If you do present this to a professor, you could take care of your score a bit... But that's not so important... The music is...

You've exploited here the zero in music, which is great and bold... Of course, I'm referring to the musical pauses! But... It's like playing with fire... If you do use the pause as an important element in your piece, you must assure that it would make sense... Like, for example, a conversation between two characters... There has to be a pause somewhere! So the pause here is essential, it's a part of the whole! If you were to put in music a conversation, many pauses would make the subject interesting, provocative, who knows what subject? Imagine now, your piece is a conversation... :hmmm: Would you like to be part of that dialogue?

What I want to say through this analogy is that the pause - a non-interesting element - ask for its opposite - an interesting and rather alive element! Of course you can have the static element for a while, but not for the entire piece!

And to be more specific, I refer myself to the copy-and-paste technique that you continue to use... It's ok to say again what you have said, but you should never say it the same way... Because in real life, is the same... Try to play a piece twice, and see if you can do it in the same way... There will be at least a small difference...

You're not bound to A-C#-E-C or to F#-A-C-E... Use the same structures but use other notes... like E-G#-H-G and add or remove notes... Try to evolve your music, or make it remain static in an interesting way! The rhythm... I see that you do not use exceptional divisions like septolets, or quintolets (I don't know how to spell it in English, sorry... Hope you understood though).

As I said, if you want a ABA structure, or a ABABA, or a sonata, try to bring a change to the returning section! Think of the seasons... Every year we have a spring (let's pretend that there is no global warming) but each year is different, other events happen that year, it's not like we're going back in time, right?

The same is in music, I presume... But, as nothing is absolute, you can repeat the A section exactly as it is, if you have a strong reason, or if the music ask it, or if you're... lazy! :P

I do have some pieces that repeat the same things, and now I found them dreadful... It's pity to not try to let the music become what it's meant to be...

Listen to more music! More and more! I should do the same... We all have to do so!

It's good what you write, but I don't think that you are satisfied with that, aren't you? So keep trying, as we all do!

Good luck!

Ok, i listened it, on the whole i like it.

I dont realy understand the story, but i usually neglect tha narration behind the music (not the musical narration, but the program).

For me its too airy sometimes, but i think its no problem, because it could be the character (and it has). I missed the heights, and deeps, i feel it is languid sometimes.

But in the end i congratulate!

(i am a layman : )

I like this. The beginning I would like louder, but I like it. :)

thx kid and huszar

Hi Darkangel,

I think you have some good ideas with this piece, for example I liked how sparse it was in the beginning, and you chose an interesting combination of instruments, but I also felt that the piece lacked direction. It seemed like it was going somewhere around the halfway mark but it never really gathered momentum and it ended up having the same feeling through the entirety of the piece. I think a bit of contrast by increasing the tempo, or perhaps some more harmonic variation would have been nice. Anyway, that's just my opinion, if you're happy with your piece as it is then don't change a thing!

Jackson

thank you

jacksonlast

Well, I was rather appreciative of the ensemble... it's not everyday you see flute, harp and timpani playing together. Your notation is really screwed, I'm no expert at notation and even I have realized that. You might want to learn better notation, lol..as this seems to be rather consistent with you. The grace notes you have in measure 13, 14, 15 confuse me a lot..I'm not sure what you're trying to say with them..lol. Despite this, I think you have paid more attention to form in this piece than the last one I commented on.

I really liked the G-F#-E motif and your use of it as well as that octave drop symbolizing your brother throughout and some of your harmonies were interesting .. however I really don't think I can appropriately comment on this piece simply because I'm not too familiar with oriental music and you said that it was oriental inspired. I really couldn't help but to feel as if the piece seemed blatantly incoherent at times, I mean obviously there are reoccuring motifs and themes but I really couldn't help but feel that a few times during the piece. Anyway, I really did love how flowing and almost empty the music did seem, large tutti sections were almost nonexistant, a great contrast from a lot of the music I listen to. I also found it interesting that you restricted the timpani to 4 notes this time around :), so it's great that you've set aside certain notes for the instrument instead of writing for it as if it can play any note of the chromatic scale whenever you decide.