February 13, 201016 yr Hi fellas. I haven't had very much internet access for some time since I first made my introduction here about a month ago. I really liked the criticism I got then, so now that I've got internet access I thought I'd post this wind septet that I've completed. My original intention was for it to be in an impressionist style but, after I'd written the first half, I thought that I could do more than that with it. This is one of my first few attempts at a piece leaning towards modal writing, and the first that I've deemed post-worthy. I wanted it to sound mysterioius and "not of this earth," but I'm not sure that I achieved that feeling. Thoughts of mine while writing it were about some kind of wondrous shift in nature. Erosion, possibly, but not so gradual. Sound file reuploaded as an mp3, courtesy of SergeofArniVillage Wind Septet
February 13, 201016 yr Welcome back to YC! Since you enjoyed the comments of others previously - why don't you join us in taking part in the Review process. That will also draw more attention to your works. I like this, however.. I don't think the midi does it justice. Any way that you can upload a better sound file?
February 14, 201016 yr Max Nice tempo work in this. It is always nice to see a new composer not be afraid to use tempo changes in his piece. One thing you want to add to the score is the tempo in the very beginning. When I first started composing, I did the same as you have, which is the same most new composers do. We fail to add either bowing marks for the strings, or in this case, tonguing notation for the all of the winds. After studying numerous books on orchestration in which all of the authors state that new composers should always include bowing marks and tonquing marks, I finally understand the importance of the new composer doing so. It forces you to think more deeply about what you are asking the performers to do and makes you thoroughly think about each note being put on the score. So I highly recommend that you start adding these articulations to your scores. As Jason said, a mp3 will always get your ideas across to our members better than a general midi file can accomplish, so a mp3 would be nice. Ron
February 15, 201016 yr Yes pity about sound quality but looking bayond that ... I like the modal harmony a lot. I think you may well be on the way to having your own particular harmonic language which is great. I like the little playful figures in the flute especially (I would have featured even more) and serve as a great transition to the 'faster section'. It all sounds nice and organic. Tempo changes are subtle - free flowing. Not sure about the form, I am not sure what form it takes, but it kept me interested It is mysterious. It is a kind of other view and I would hold with the nature depictions for this. Really good work
February 16, 201016 yr like that you are exploring modal writing and think that you are doing a nice job exploring some different ways of using that here and also some different textures. I really like the section from 25-42 - the 3/8 and 5/8 sections. The clarinet interjections in the 3/8, which also come back later in the piece are kind of nifty. I like how when you bring that idea back that you add the moving background figures. I wish you would have introduced that melody in 163 early. That eastern sort of flair works really well and I think you could have made more use for it. I think this is pretty nice throughout but you really need to add more exact articulation throughout as Ron mentioned.
