WindTrio - first mood piece

I'd like to thank Herr for his ideas to improve and make clearer this piece. Really wonderful input Herr.

Here is the link to the background of the piece.

http://www.youngcomposers.com/forum/wind-trio-possible-set-mood-pieces-22179.html

Here are the links to the UPDATED pdf and mp3:

http://www.box.net/shared/poud6mbyhm

http://www.box.net/shared/du0ozsujz8

Again welcome any comments and problems with balance that may occur in live performance.

Oh wow, I'm glad I was able to help.

I can't listen to the mp3 right now unfortunately, but just looking at the score it looks a lot better. How many movements are there going to be?

i like it. very nicely moving. edgy enough not to be easily devoured.

Thanks guys. Herr - not sure right now the number of movements. As I have two or three other projects and will be starting a new job this upcoming week, this may be a very long term on and off project that offers respite from my longer compositional projects.

One thing I do want to carry over is some of the rhythmic "motives" in this piece to other movements. In other words the conflicting 3 against 4, 2 against 3 and the subdivision of silence (eg in this piece 3/4, 9/16, 3/8 bars serve a formal purpose. The 3/4 to separate the statement of the material from its mini development, the 9/16 as a demarcation of the 2nd half, and the 3/8 to separate the coda. Also the time signatures follow a pattern of diminishing value (using 16th notes as the base, the reduction is 24,12,9,6).

Very bizarre piece: it reminds me of a grouchy old man taking his trash to the road...xDDD

I like that you got the whole line vs dots thing going, it's quite easy to do with winds. But something about the balance sounded odd to me, as well as the programmatic title you added. Certainty/uncertainty, I guess you equaled them to long vs short notes in a way, but because of that the piece feels like it could be longer.

That is to say, you have a lot of silence, but because of that the piece feels like it's progressing towards a more concrete body of sound as it goes, only to be cut short. For the length it currently has, I would've been more extreme with the material (either all out-silences or very compressed blocks of material separated by decompressed segments, taking the lines vs dots much further.)

But otherwise I think it's pretty cool.

Thanks SSC ... probably the best review I ever got from you. And I'll tale your comments about length in consideration for the next piece I use such a technique.

And though I never realized this until you said it, it is easy to do this line vs dots with the winds.

The balance sounds odd as I wanted the uncertainty/certainty dichotomy by shifting the roles each instrument plays - foreground, middleground, background(eg harmony solely) roles. But there too I could have done more with it considering your comments.

Serge - lol, thanks anyways.

hi,

sorry, but i didn't like it.

i found it too random, even sounded as though you clicked your mouse anywhere on the page!

perhaps it wasn't that bad but i hope that you get my point.

the second section, (was that another mood?) was better with the clarinet(?) solo. it was very high though, would have liked to see the score but my computer has had a fit. perhaps it makes some kind of clever visual sense, because for me it did nothing to the ear.

hope you take this into account.