Dionysian Mysteries

So, I finally updated the score of "Dionysian Mysteries" finished. I would like you guys to have a look at it and give me some notes on what can be taken away and what can be added to make the piece better. Of course, you don't have to give me notes and you could just tell me your opinion on the work. I thank you all in advance for your compliments and critiques. Be sure to read the program notes, notes to the conductor and have a look at the placement chart! Thanks again, guys!Peace,C.L. WinstonDionysian Mysteries

Dionysian Mysteries

Love it.

The old 'dipping the gong into the water pitch bend' trick never loses its appeal. Indeed I applaud the experimenting with more aleatoric techniques in the whole ensemble alongside a tried and tested style of writing for band. I must confess I've only played this sort of music (reminded me of people like Robert W. Smith and Elliot del Borgo) in versions with string parts added, and I'm not by any means an expert on band writing.

It was certainly entertaining, not least in a real performance with percussionists all over the auditorium. There's a slight weakness in the music as an overall form, namely that it tends to stick with the 'white notes'; ie there are very few accidentals and therefore very little sense of modulating and moving through key areas. This does make the music feel as if it's going over the same ground after a while. It wasn't a huge problem though as the 'surface' of the piece was entertaining enough to hold my interest through the work. I would say that the massed sonorities of the large ensemble, the use of percussion and the largely homophonic nature of the writing were appropriate for the subject matter, if not particularly innovative. And of course, congratulations for completing a work of this duration - I understand the effort and the problems one must overcome to write music on this scale.

The upward trombone glissandi in the passage b.224 - 227, which you note is important to bring out, are unplayable with the slide - trombones can only gliss up to an augmented fourth, and even with an E or F attachment there are no glissandi possible which start from the F natural you have written. You could get them to reach the top D natural from a G sharp though.

I really enjoyed this. There's nothing I can really say to make it better - this is way ahead of my level. Nice work!

The old 'dipping the gong into the water pitch bend' trick never loses its appeal. Indeed I applaud the experimenting with more aleatoric techniques in the whole ensemble alongside a tried and tested style of writing for band. I must confess I've only played this sort of music (reminded me of people like Robert W. Smith and Elliot del Borgo) in versions with string parts added, and I'm not by any means an expert on band writing.It was certainly entertaining, not least in a real performance with percussionists all over the auditorium. There's a slight weakness in the music as an overall form, namely that it tends to stick with the 'white notes'; ie there are very few accidentals and therefore very little sense of modulating and moving through key areas. This does make the music feel as if it's going over the same ground after a while. It wasn't a huge problem though as the 'surface' of the piece was entertaining enough to hold my interest through the work. I would say that the massed sonorities of the large ensemble, the use of percussion and the largely homophonic nature of the writing were appropriate for the subject matter, if not particularly innovative. And of course, congratulations for completing a work of this duration - I understand the effort and the problems one must overcome to write music on this scale.The upward trombone glissandi in the passage b.224 - 227, which you note is important to bring out, are unplayable with the slide - trombones can only gliss up to an augmented fourth, and even with an E or F attachment there are no glissandi possible which start from the F natural you have written. You could get them to reach the top D natural from a G sharp though.

Siwi,

Your comment is very much appreciated. The reasoning behind the modulating is more so to depict a sense of change from the Maenads just being with themselves to finally being Dionysus. Thank you very much for the note on the trombone glissandi at the bars you specified. I was a little weary on writing it initially and now I see why. I will change that immediately when I come back to this piece in December as it had taken up most of my life as it was being composed. Also, I'd like to tell you guys that a band in New York known as the SUNY Orange Symphonic Band may give a reading of this work in January. Let's hope all goes well until then. Thanks to those of you that have reviewed this work and I strongly encourage others to follow suit.

Peace,

C.L. Winston

Make sure that the reading is recorded and that you post it here.

Make sure that the reading is recorded and that you post it here.

Will do, Mitchell. It would be really nice hearing this piece performed by an actual band.

Peace,

C.L. Winston

I found this piece rather entertaining, and as someone else mentioned here it reminded me a bit of robert w. smith, particularly his divine comedy pieces if your familiar with them. I love the percussion uses throughout it creates a nice strong drive in the background that isnt always on top but when needed its on the foreground. I love the feel of the 11/8 however i thought maybe would it be easier both for conductor and ensemble if one bar of 11/8 was notated as 7/8 + 2/4. This may just be a personaly preferance though.