Tone poem

Since I couldn't find an obvious place for introductions, I'll say hi and jump right into posting music.

I wrote this "tone poem", or what-should-I-call-it, for 2 violins, viola, guitar, flute, alto flute, oboe, english horn, and clarinet. I think it would be really interesting to receive some educational thoughts on the use of instrumentation, as well as structure and harmony in analytical terms.

Best regards

Edit:

The score has been revised for the second time.

Edited August 12, 20178 yr by Hugget Zukker

I like it. I like the mood set with the language, and I think the structure well developed, the motifs well interwoven.

Maybe a few register problems for the winds, but it sounded nice.

Thanks a bunch!

Could you elaborate on the register problems? I assume you mean wrt. ease of playing? I've never played a wind instrument, but the virtual instruments I'm using (Sample Modelling) should limit the ranges realistically.

I understand that it's hard to play winds softly in their higher registers. Maybe that's the problem? I've transposed the whole thing down as much as possible, and made a few tweaks, and I think it sounds thicker and less shrill now. I've just uploaded the new track and score with minor changes.

There are some issues with the score: there are plenty of portamento in the strings that are not written, the oboe has two simultaneous notes in some place, the chef of the viola.

The set of instruments  is fresh and the melody  is nice. In general I think you are using instruments enough to make counterpoint or countermelodies, but the strings have a secondary role most time.

Thank you, Luis Hernández. I'm working on the score now. I'm not well-versed in musical notation. I used a piano roll editor, and made Logic Pro X spit out a "score" from midi. I have to research the notation for portamento now. The simultaneous oboe notes are because the score generator can't identify grace notes. The viola needs a special clef? Alright. I'm looking into it.

I'm also aware that my key signatures have no flats or sharps. It's not a piece that neatly returns to its original key at the end, or remains clear about its tonality at all times (I think). Should I A) just use the first implied key as the key signature for the whole score, B) put different key signatures throughout the score after identifying all the keys and modal trickery it might go through, or C) just keep it as is; one key signature with no sharps or flats, to remain neutral? (Plan C for now.)

Edit: New score revision.

Edited August 12, 20178 yr by Hugget Zukker