Jump to content
Sign in to follow this  
isuckatcomposing

Orchestral Work

Recommended Posts

You have a gorgeous, Baroque-like style, with a firm grasp of working harmonies. Nice work!

As to your orchestration, I have a few pointers.

  1. I'm not sure why you have two lines for the contrabass. I would combine them.
  2. When any of the strings have two notes at once in the same staff, it's a good idea to either notate "div." or "non div." above the notes. This is because, as you know, strings are capable of playing more than one note at the same time (called a 'double stop'). If you want the notes spread out among the same section, then write "div." If you want the notes played as double stops, then write "non div."
  3. I notice the 2nd violins repeat the 1st violins an octave lower. While that's perfectly fine in moderation, it's better orchestration to give the 2nd violins some sort of harmony or counterpoint.
  4. There are a couple instances where you write for notes at the extreme end of an instrument's range. For example, in m 15 you have the flutes play a middle C, which is very difficult (and won't be heard well), and then you have the horns play a turn at high G (m24)—that'll be very difficult to accomplish.
  5. There is a lot of doubling among the sections. Again, this is fine in moderation, but it's better form to give each instrument its own voice and minimize doubling as much as possible.
  6. In m53 and following, you use a series of hairpins and dynamic markings to denote a decrescendo. All you have to do is write one hairpin and put the final dynamic marking at the end.

You did a great job overall! Keep up the good work!

Share this post


Link to post
Share on other sites

@Tónskáld

Thank you! I have 2 contrabass lines because one of them is legato and the other is pizzicato. Musescore is weird like that. 

I guess I need to write divisi above the Violas. I'm a Tuba player so I assumed that the section would split parts like the trombones.

I'll try to work on counter-melody more and try to double less.

They way the score is notated is more for the program and not players because I seriously doubt anyone will be playing this, but I'll think about it more if I make music for others to play.

If I get to it, I'll notate a more playable version. At the moment I'm working on composition battles with my friend and getting a choral piece preformed: 

Thank you for your comment, I really appreciate it.

Edit: I figured out how to make the CB line have pizz. and arco. I wish I knew that long ago...

Edited by isuckatcomposing

Share this post


Link to post
Share on other sites

Hi @isuckatcomposing, I enjoyed that a lot, I like the style and the character of the piece very much. Your contrerpoint is simple, nice and effective. I would say it's a cantus firmus (bassoons, Trombones and Violas) with a string bass (Cellos and DB) and then flourished by violins in quarter notes. It Works great.

Just a couple of comments:

1- I find it strange so many dynamics at the same point. I find it more elegant to have just one or two dynamic at the same time. Exemple: bar 3 you have pp, mp, mf and f by different instruments. I think you have to work a bit more on that. One option is to orchestrate the dynamics. Exemple: bar 5 you put ff to violins while other instruments play mf. Here you could just add flutes and oboes to emphazise the violin line and keep dynamics to mf for all.

2- I would consider replacing the flute by a second oboe, sinces the highest note of flute writing is a C-flat, which can be perfectly played by oboe.

3- Most of the time bassoons are doubled by trombones and violas. I wonder if you need three instruments playing the same all the time. Is it to get a certain color by blending the three instruments? You could just start with string section at the first bars and add bassoons, trombones and Woodwind when you need more power. Adding  a bass trombone doubling double basses would also help when you are playing a tutti.

Anyway, well done...and keep on posting, I would like to hear more like that one ;)

Edited by Guillem82

Share this post


Link to post
Share on other sites
16 hours ago, Guillem82 said:

Hi @isuckatcomposing, I enjoyed that a lot, I like the style and the character of the piece very much. Your contrerpoint is simple, nice and effective. I would say it's a cantus firmus (bassoons, Trombones and Violas) with a string bass (Cellos and DB) and then flourished by violins in quarter notes. It Works great.

Just a couple of comments:

1- I find it strange so many dynamics at the same point. I find it more elegant to have just one or two dynamic at the same time. Exemple: bar 3 you have pp, mp, mf and f by different instruments. I think you have to work a bit more on that. One option is to orchestrate the dynamics. Exemple: bar 5 you put ff to violins while other instruments play mf. Here you could just add flutes and oboes to emphazise the violin line and keep dynamics to mf for all.

2- I would consider replacing the flute by a second oboe, since the highest note of flute writing is a C-flat, which can be perfectly played by oboe.

3- Most of the time bassoons are doubled by trombones and violas. I wonder if you need three instruments playing the same all the time. Is it to get a certain color by blending the three instruments? You could just start with string section at the first bars and add bassoons, trombones and Woodwind when you need more power. Adding  a bass trombone doubling double basses would also help when you are playing a tutti.

Anyway, well done...and keep on posting, I would like to hear more like that one 😉

 

Thanks @Guillem82! I just have trouble with dynamics in general, much like in real life performances. I agree with the replacement of the flute with oboe, I've been experimenting with the oboe and I like it more than I thought I would. The reason why I generally double all the time is because I don't know how to build into a moment that requires more power. It's very strange. I'm a very mono-tone person in real-life and I think it shows in my music. I think its just something I will know how to do when I figure it out randomly...

I have, several more like this one that I haven't posted here. mainly because I moved away from them. But you can check all my music that I don't upload on this website on my YouTube channel: https://www.youtube.com/channel/UCxGD7pXpSvvR6ot4nOUDcGw

Thank sir, I appreciate your comment.

Share this post


Link to post
Share on other sites

In my opinion not enough variation of melody/harmony, and too much dominance in the violins. Eg b17 you should maybe give the melody to woodwind, which should be more contrasted to the original melody, and should now start in a related key such as Db or Ab. Always consider alternate keys for all notes, it may often lead you to great things, for instance it would be really nice if in b2 you put Bbminor under the Bb, and in b4 if you put Gmajor under the G, just as top of the head suggestions. Well done tho Shawn, thanks for sharing, and you certainly do not suckatcomposing lol..!

Mike

p.s. I really like the opening melody, just played it on the piano but on the second bar I did Ab 2nd Inv to Bb 1st Inv under your tune. Its really nice!

Share this post


Link to post
Share on other sites

@Mikebat321 Thank you for your comment.

I'll think about different/modulating harmonic progressions in the future.

I'm still figuring out the melody variation thing, but let me know when I get it in the future.

Thank you.

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Sign in to follow this  

×
×
  • Create New...