Symphonic work for String Orchestra

Hi,

This is the first of three sections that together form a one-movement "symphony" though it will be called something else.

The work is complete and in short score but I decided to present the movements singly. I wouldn't expect anyone here to listen through 17 minutes of it.

Note that it is a short score not a piano score. Since the strings have a homogeneity of sound, this shouldn't be a problem. There are no tricks.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - -

I had certain aims:

i) to write an extended work (successful)

ii) to break from my usual harmonic style. (partly successful)

iii) to work within the limits of a computer with its samples. (almost successful)

1. Techniques used

For this section, sonata form - makes use of unison and simple textures where possible.

Deliberately uses 4ths, 5ths/unisons to escape my regular harmony.

2. How long it took to compose the piece

This movement - about 10 weeks elapsed; deferred often! Most of the work was done here tho - subsequent sections draw on the same material (as at now).

3. Structure of your piece

Sonata form.

4. Obstacles when composing

Decisions about how to represent the opening (in score...not yet resolved); Keeping rhythmic complexity in check. But the big sweat was getting it in the computer - that gave enough headaches to incite various smaller projects to relieve the pain.

5. Summary of overall piece

Conventional if modern - definite tonal centres and just that much short of diatonic. Nothing programmatic but hopefully more than just an exercise. The movement lasts 6 minutes.

About the score......... There are minor discrepancies between the music and the score - adjustments that don't generally affect the overall reading (which I hope is legible). Point is, don't worry to point them out as I probably know they're there. The music is right; the score needs updating. (There's an error in the bass in bar 60 - I'll try and fix that today.)

My misgivings. The tempo. Also, given it's conventional, does the climax sound trite? Hopefully the absence of a time sig in the opening won't be too much of a pain if you're looking at the score.

Comments would be most appreciated.

Mp3 here

and the score, let's try it as a photoshop pdf.

My People and Angels, Sing This Song!.MUS

Thanks everyone. :D

M

verry good , interesting melody good harmony , and form .

Hey M,

Finally, I get to hear something you wrote! - And I

Hi, jabri and leightwing. Thank you for your time and comments. Much appreciated.

leightwing, excuses time!

Finally, I get to hear something you wrote! - And I

ooh thats very good!

nice demonic-ish beginning lol

~brad~

The beginning reminded me of the Nationalism that spurred the Russian composers (just mising the intense horn sections). I don't know if it was the recording, but parts of the song seemed to stop too abruptly. Towards the end, it seemed as though the theme is completely lost and I'm not sure if you intended for a sonata form, but the middle sections seemed to be structured around the free-form in sonatas. Also, I would suggest the use of partial chords, rather than 4th and 5th unisions. Those chords are fun and all, but like any chord, overuse makes it less affective. If I find I have to break a harmony into more interesting sections, I start to build sustained and augmented chord, (example in D minor: iiisusM7 is simply BbEC in that order). This is really easier to develop if you have your own instrument to experiment with sounds.

Thank you for these additional insights.

"(example in D minor: iiisusM7 is simply BbEC in that order)."[/b]

Not sure I understand - probably me being thick. I tend to go by the romanised chords if at all, so iii7 in D minor?

III7 makes sense as the raw III in a minor key is either a major or augmented triad = F-A-C or F-A-C#

so iii7 would be an altered (rather than chromatic) - F-Ab-C-E. (or C# for C). Do I presume right that by sus7 you mean the 7 is suspended? If that's the case I'd probably describe the chord after it resolved, the 7 being an appoggiatura. I love appogiaturas, they are the route to more appoggiaturas!

Or hold that 7th (here, the E) and suspend the rest of the chord underneath-resolving onto a phrygian thing: Hold the top E from F-A-C-E onto E-G-B-E. IV7a-iiia in a major key.

The possibilities are endless I suppose.

;)

"(example in D minor: iiisusM7 is simply BbEC in that order)."

I made a mistake, I meant to have it IIIsusM7. But you did get my point I guess. :P Also, I've been trying to use the augmented fourht and diminished fifth chords (aka the devil's toine), the order they move is quite interesting.