Canon

A short canon for string orchestra with short interlude B section. Enjoy! Comments always welcome!! NOTE: Score is not perfect, I am going to spend some time working on the notation program with it (Getting to know various parts of it.)

Canon

it is a good idea and you use the cannon fix up with atonal harmony , abd i also like the harmony , good job , i like it very much

I liked this! It has a disturbing as well as a soothing sound to it. Like the beginning, it is a bit scary if you want to hear it that way, but it can be sad or depressing as well. The B section was a nice little interlude between the movement of the previous section and again the peace and fright of the beginning. Good job Did you intend this just for string orchestra or also for performance by string quintet?

This is really incredible cool. I liked this very much. Maybe the orchestration can be a little tweaked. I love the idea in the A' section to give the first canon part to the cello. Good use of a different tone color, but I really double whether that is still function in the fast paced 16th's section later on. A second issue, but that might be a tad out-dated: I read in my little orchestration manual that the Basses a a bit thin, compared to the sound of the other string players. The advise was to let someone double the basses. Granted that it will not always be necessary (for example at the pp passages), maybe it will be the louder places.

About the tonerows, are they rows. The CB line is a sort of chromatical line, but the final G# is never reached. Sort of the same applies for the Cello line, row = F F# G G# Eb E C# A D Bb B C#, the last being a C# while I expected a C.

This leaves me wondering,

1) are these tonerows and you accidental erred? (which I can't imagine :P )

2) are these two rows somehow related? (since the last notes are both one half off of what to be expected)

3) I can imagine you did this to create a more clear focus on D, to push it more in the tonal zone, but then I wonder if that is really necessary

BTW I love how the rows are swaped in ms 10.

So I studies this piece a little, and would hope you tell a bit more about its inner workings

This is really incredible cool. I liked this very much. Maybe the orchestration can be a little tweaked. I love the idea in the A' section to give the first canon part to the cello. Good use of a different tone color, but I really double whether that is still function in the fast paced 16th's section later on. A second issue, but that might be a tad out-dated: I read in my little orchestration manual that the Basses a a bit thin, compared to the sound of the other string players. The advise was to let someone double the basses. Granted that it will not always be necessary (for example at the pp passages), maybe it will be the louder places.

About the tonerows, are they rows. The CB line is a sort of chromatical line, but the final G# is never reached. Sort of the same applies for the Cello line, row = F F# G G# Eb E C# A D Bb B C#, the last being a C# while I expected a C.

This leaves me wondering,

1) are these tonerows and you accidental erred? (which I can't imagine :P )

2) are these two rows somehow related? (since the last notes are both one half off of what to be expected)

3) I can imagine you did this to create a more clear focus on D, to push it more in the tonal zone, but then I wonder if that is really necessary

BTW I love how the rows are swaped in ms 10.

So I studies this piece a little, and would hope you tell a bit more about its inner workings

The row base is in teh CB. For the cello part, I chose a 'harmonic' bent to accentuate the CB. I could divisi the cello to double the bass - I hadn't thought about that. The tone row serves as a ground for the canon itself. I'm not sure what you mean by the 'erred'. Are you referring to them only being 11 notes long?

yeah, I meant it being 11 notes long, in stead of the 12 I expected. And at the place where the 12th note was to be expected, there was oneother, only a semitone away from the expected. In the CB row the G# is missing, I thought the repeated A could be the missing G#, and the second occuring C# in the cello line could be the ommited C. Since it is so close to a 12 tone row, I was looking for the 12th. But now I know you only have a row of 11 notes it's OK :)

You'll notice the missing g# comes in towards the end of both the A and A' sections. :)

I like the sense of unease in this piece, the leaps between the notes work nicely. There's also enough interest in the note lengths.

I think you've managed to get a lovely sense of space between the instruments, I can hear the tune throughout the canon.

I think the trouble with music that is based on a tone row is that sometimes it can feel as if its lost a sense of purpose, which I felt in bar 40 and for about 10 bars after that. But it regains it for me personally with the downward runs in bar 53.

The contrast between the slightly uneasy first section and the calmer second section is great, I love the push and pull between moving downwards and moving upwards, keeps the piece sounding very open.

I think if you had real performers playing it you'd get a really lovely sense of phrasing and line, which sadly the computer generated sounds miss.

I like the sense of unease in this piece, the leaps between the notes work nicely. There's also enough interest in the note lengths. I think you've managed to get a lovely sense of space between the instruments, I can hear the tune throughout the canon. I think the trouble with music that is based on a tone row is that sometimes it can feel as if its lost a sense of purpose, which I felt in bar 40 and for about 10 bars after that. But it regains it for me personally with the downward runs in bar 53.The contrast between the slightly uneasy first section and the calmer second section is great, I love the push and pull between moving downwards and moving upwards, keeps the piece sounding very open. I think if you had real performers playing it you'd get a really lovely sense of phrasing and line, which sadly the computer generated sounds miss.

Thanks, Sofie. I'll see if I can tinker with those 10 bars to make them a little more interesting. That part is the reiteration of the opening motive of the canon. Certainly, I can make it better! I am going to see if I can get this performed this summer - hoping!

Very good and emotional, you know. I felt the ending a little sudden, perhaps a rallentando would help to prepare the ending, because the atonality can't do it.

Also I would write many bars in 4/4 and writes changes when needed, but I think IF it would be better you would have done that already

Thanks, Sys. Glad you liked it!

I enjoyed this Jason.

It would have been nice to see some decent development on your B section.

Why did you use 5/4 as a time signature for the A section? At a glance it looks like 4/4 would be the better choice.

The ending was rather abrupt.

I enjoyed this Jason. It would have been nice to see some decent development on your B section. Why did you use 5/4 as a time signature for the A section? At a glance it looks like 4/4 would be the better choice. The ending was rather abrupt.

I chose 5/4 because of the canon line. I thought the ending was perfect, personally. I'll tinker with it though and see if I can make it a tad bit better.