Burleske for Wind Quintet (complete, unable to post)

The uploading system on this website seems to believe I've wronged it, somehow.

A short quintet piece written to fulfill a prompt for a comp. assignment. Nothing special; but I like the line marked "quasi barcarola" in the horn part. The score is in concert pitch.

burleske.pdf

burleske.mid

Really nice use of your motives. Everything gets passed around so musically. Oh, and sweet ending. I smiled :) (and laughed a little on the inside :P)

Sounds pretty solid!

-John

Thank you sir.

Hi!

I would like to listen this with real instruments, i really hate midi sound, and I really liked this composition, is very interesting. Sorry, but i can't tell you more things, the dynamics and cresc for example are horrible in midi sound, but i like yours ideas and motives, and all in general.

Continuous composing, i like that kind of music

Diego

I'd like to let you know I like this as well. It is not my thing, know little to nothing about this kind of music, but after listening and examining it for several days now I start to appreciate it. I see inversions and reuse of material. But some things make no sense yet. Do you want to explain some things? Like the chromatic line up in ms 20-25 (sounds like leadtones, almost tonal again?); the horn figure in ms 27, or the line you called quasi barcarola? I'd like to learn about this.

I agree with John on the lolling at the final note :D

Thanks for the reviews; I didn't expect this to draw more than 1 comment at the most (and even then, I didn't expect praise, hahah).

I'd like to let you know I like this as well. It is not my thing, know little to nothing about this kind of music, but after listening and examining it for several days now I start to appreciate it. I see inversions and reuse of material. But some things make no sense yet. Do you want to explain some things? Like the chromatic line up in ms 20-25 (sounds like leadtones, almost tonal again?); the horn figure in ms 27, or the line you called quasi barcarola? I'd like to learn about this.

I'm glad you took the time to really look at it! It makes me go back and look through things myself; being forced to "analyze" my own work is interesting.

The horn figure in bar 27 is just a sort of afterthought, helping to bring the miniature to a suitably ridiculous conclusion (which may lead to something else - as it stands, this sounds like less of a complete miniature and more like an interlude from a larger piece).

The other two passages are less arbitrary. Both arise out of a sort of staple of my compositional language: I like building material from intervals that, when compressed, result in minor seconds (so, major 7ths, minor 9ths, and minor 2nds themselves). I also like contrasting heavily dissonant material with less dissonant material. This is the reason for the contrast between major 7ths/minor 9ths and a falling figure in fourths in the opening bars. It's also the reason for some less important contrasts (tritones/thirds, etc.).

The quasi barcarola line is an example of this; and the rising chromatic line in bars 20-25 is also a result of my preoccupation with minor 2nds. That particular line begins with the same descending minor third (C to A) that appears twice in the first horn solo, and ends up back on the C - the first time, the dissonant "balance" is a tritone, here it's a minor second.

I'm not quite awake right now, I hope I made sense.