Qin

Qin is a Chinese vassal state of the Spring and Autumn Period, Jiang surname, ancestor legend of King Xiao of Zhou Qin Qin due to non-subclass of good horses, so their letters in Qin Dynasty, as a vassal of the Zhou Dynasty. 770 years ago, King Ping of Zhou Qin Xianggong escort Eastward active, been called the princes, the count, Qin Shi Jianguo, Zhou Dynasty fief of Shaanxi in this area. Past 677 years, the Qin Yong its capital in the past 300 years. Yong city has palaces, residential areas, burial areas scholar with the Chinese people and Qingong Ling Park.The original territory of Qin in today's Shaanxi Province, the western part of China at the time the edge. Early in the Spring and Autumn period it is a relatively inconspicuous state until the King of Mu parties involved in the Central Plains hegemony era, second only to the State of Jin, Chu's second-class power, but the King of Mu into the downhill after the death of another. This situation has been to the previous 361 years of Constitutional Reform began to change. Political Reform in the state of Qin in the growing and began eating other vassal state of the land. The former king of kings 325 Huiwen. In 260 BC, Qin general Bai Qi Zhao at the Battle of Changping in the hit, Zhao loss of nearly 50 million of the troops, Qin Guowei Chen world. Ying Zheng ascended the throne 237 years ago, began his conquest of the six countries. From the past 230 years Qinmie Korea, to 221 BC Qinmie Qi, the unification of China.

Qin

Ok dark, I'm reading your score,

.... fffff ? 5 ? I suggest you to use fff + "Pavilion on Air" for horns and "Cuivre" or (how do you call it in english ? overlay ?) but all this can be for a short passage only, brass will start playing softer after that, besides is not good to tired the entire section from the very beginning.

The harmony language you use is confusing sometimes, you can do two things, remain writing music like this until you learn what and what not to use, or stay within the harmony you handle well no matter if it sounds too common, but at least sounds good, for instance the transition from bar 13 to 14 sounds out of place.

Bar 29, these kind of things is what you can use without getting too far, the chromatic horns + semistatic timpani + the motifs in piano right hand, this entire segment is good, (to the 6/4) I liked it.

On bar 48 is when one says, "ok, this, what is this ?" the past horns motif would be nice to develop, you have the entire orchestra to do it,

In common timpanies that Low C would sound too weak, there are larger timpani that play that note well, but they never come with the common Timpani Set.

I recommend you an Euphonium for the Tuba parts in Page 4. Then fffff brass strikes against ppppp piano motifs ?

Page 5, I think this was the best part, specially the horns, and the last chord the best of it, (you can set Tuba and Contrabasses an 8va down)

You told me already the circumstances you had while writing this, like I said, there're some good ideas, just, well you just try to avoid those crasy things like the fffff ... ok ?

i want to tell the performer something, that is why , i used fffffp something , i want to show that dynamic is a measurement unit . that is what i do at this music and also this music will be perform at oct

dark

Dynamics are relative, not absolute Angela. It doesn't work like measurements do.

Dynamics are relative, not absolute Angela. It doesn't work like measurements do.

but i do play piano like that , may be, i wrong , Justin , but i hope it will work

but i do play piano like that , may be, i wrong , Justin , but i hope it will work

All musicians I've meet add their own interpretation and use the composer markings as guidelines or suggestions.

All musicians I've meet add their own interpretation and use the composer markings as guidelines or suggestions.

but someone hate changing , but i want to change somethings , like Obama said (change is coming )

but someone hate changing , but i want to change somethings , like Obama said (change is coming )

To me, you're saying "This is how it should be played no other way" and that's a killer to the point of art.

Hi angela

I think it is clear you want the brass to be really very loud, and the wood almost inaudible. But the extreme dynamics are so extreme that they almost make no sense anymore. after all, people can't tell the difference between ffff and fffff. Or a soft passage in woodwinds (p) against a ff brass sections is just as inaudible as a woodwind phrase ppp against a ffff brass section.

So the question remains what do you want to communicate with the extreme dynamics? Has it something to do with the story you attached to this post? A little more remarks could help people to understand the way you did it :D

Did I understand it right this will be performed in October? Then, congrats:)

i think , if pppp , is volume like 1 something , then ppp will be 2 , then pp will be 3 , it start from very quiet , the brass is not too loud , it is a contrast matter

ppppp=1

pppp=2

ppp=3

so on

To me, you're saying "This is how it should be played no other way" and that's a killer to the point of art.

friendship are more important

i think , if pppp , is volume like 1 something , then ppp will be 2 , then pp will be 3 , it start from very quiet , the brass is not too loud , it is a contrast matter

ppppp=1

pppp=2

ppp=3

so on

No, is about like this:

p = Soft

pp =softer

ppp = as softer as possible but still heard

pppp = so soft that begins to get lost, you don't hear it clearly, and is normal if its disappears ...

ppppp = is like you tell the player, ... "you know what, is better if you don't play at all"

and don't forget the personality of the instruments, some instruments can't play ppp on certain notes.

in forte

f = loud, clear, easily heard

ff = louder, dominant

fff = as loud as possible

ffff = an extra effort for SHORT, usually to obtain a different sound, like extra vibration, intentional distortion.

fffff = what ? breack your instrument ? or break yourself ?

All this p, mp, f, mf, etc depends highly of how the conductor undestood the music and the purpose of the prhase played byt that instrument, for instance, you can write p in a oboe that will play a solo melody along the string section also writte in p, if you add the solo for that oboe, the player and the conductor know that the p written for the oboe may have to be ignored and played in f, or whatever is necesary to obtain the proper solo effect.

Like Tokke said, this is relative, these are not midi messages with CC7="127"....

Anyway, this is a minor aspect in the work, after all this can be easily changed, I would point the harmony language as a major aspect to improve, even before orchestration.

No, is about like this:

p = Soft

pp =softer

ppp = as softer as possible but still heard

pppp = so soft that begins to get lost, you don't hear it clearly, and is normal if its disappears ...

ppppp = is like you tell the player, ... "you know what, is better if you don't play at all"

and don't forget the personality of the instruments, some instruments can't play ppp on certain notes.

in forte

f = loud, clear, easily heard

ff = louder, dominant

fff = as loud as possible

ffff = an extra effort for SHORT, usually to obtain a different sound, like extra vibration, intentional distortion.

fffff = what ? breack your instrument ? or break yourself ?

All this p, mp, f, mf, etc depends highly of how the conductor undestood the music and the purpose of the prhase played byt that instrument, for instance, you can write p in a oboe that will play a solo melody along the string section also writte in p, if you add the solo for that oboe, the player and the conductor know that the p written for the oboe may have to be ignored and played in f, or whatever is necesary to obtain the proper solo effect.

Like Tokke said, this is relative, these are not midi messages with CC7="127"....

Anyway, this is a minor aspect in the work, after all this can be easily changed, I would point the harmony language as a major aspect to improve, even before orchestration.

what harmony i need to improve in this piece

Good question and very hard to answer but I'll try:

First I must tell this opinion is based on my personal taste about harmony, if you listen any of my pieces you'll note I prefer tonality, perhaps that's why I find a little confusing the language you use here.

Tonality doesn't mean C major, G major F major and that's all, there much more to be used before writing lines or melodies that are not ruled by anything, (I repeat, that's what I prefer).

If I write any note, A g# or Db or whatever is because that note is part of a chord or ruled by a scale of certain type, that chord or scale is what I define first. Each time I begin to write notes just like that, without thinking in where they belong, the results are unclear and too much disonant music. I see you do define that consept first in some parts (like the strings) but then you add another concept, like several little universes mixed into one big space, those little universes may make sence within their inner space, but when you mix them with the others and LISTEN the overall results, that's when incoherent sounds appear. I think is because that concept always makes it very difficult to achieve a beautiful sound, perhaps I'm very stetic I don't know, but when I listen something and I can't recall more than the 70% of the music that's bad, .. that means it was confusing, that I didn't understand.

My suggestion is to learn how to develop one of those universes into a larger one, that fits the entire ambient (the entire orchestra) by adding small countermelodies and additional lines, make some motifs appear and others to reply them, etc.. Try to create a single mature thing, instead of many small ideas that no one repeats, no instrument replies, nobody follow them, they just show up in one area/section/instrument and all the other seem not to care about it, like ... "ok you play your stuff and let me play mine". A powerful piece is when all instruments seem to be helping eachother, being small parts or a big building, a builing was concieved as that, from the very beginning.

About the orchestration, I think this is nothing but a common issue I've seen recently, the finale playback is giving you a false idea of how would it sound, like a oboe line as loud as the entire brass section.... weak trombones etc etc... try to see if you can balance it.

chord generated naturally when you put the notes , no one want a traditional harmony from that piece . because that is a new concept of music . there are no traditional matrix in that music

----

if you want to listen traditional matrix , you can listen my work emotion , there will be a lot of that stuff to serve your ear

(posts merged by SYS)

Ok, I check it later...

friendship are more important

what??

Wow, Angela. I must say, this isn't your best work on the forum at all. It's nice to see you attempt to venture out but this orchestration really isn't your best at all. I'll let others tackle the winds and brass... but from a string standpoint... this is some very awkward Contrabass writing. The other strings its nice... but double bass, that's going to sound quite awkward.

what??

i said . in my mind . the most important thing is friendship . then second is music ,if someone destroy my art , i will feel nothing , because they are my friend , i don't mind , that is what i meant

i said . in my mind . the most important thing is friendship . then second is music ,if someone destroy my art , i will feel nothing , because they are my friend , i don't mind , that is what i meant

You misunderstood me. You are wrong by saying there is only the one way to play this piece and it's detremental to the whole point of music and art.

As for the actual piece, it's different and adventurous but it's horribly written - pppp, ffff... ffffp??? Sys was right on, listen to him if no one else.

You misunderstood me. You are wrong by saying there is only the one way to play this piece and it's detremental to the whole point of music and art.

As for the actual piece, it's different and adventurous but it's horribly written - pppp, ffff... ffffp??? Sys was right on, listen to him if no one else.

i see . thank u , i will think about it

I'm sure Dark would change some things if she would listen this in a much more realistic recording. I think load and score and expect a perfect performance just like that is impossible, no software does that.

The software doesn't tell me how my music sounds,

I tell the software how my music must sound.

This is what everyone should do, to create in his mind a realistic idea of the orchestra, and make the software match that idea, only then (taking advantage of technology) playback it and edit to get the desired effect.