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Time is eternal. As sentient beings, we often fail to understand that despite the eternal nature of time, we -ourselves- aren't. At some point, our lights will extinguish -our lives will come to an end. 

This is scored for a chamber orchestra of one of each woodwinds (1.1.1.1), brass (1.1.1.1), vibraphone, timpani, and strings. 

Compositionally, this is an abridged sonata form. The exposition lasts for roughly the first minute, the development section lasts most of the work. The recapitulation was shortened to just a restatement of one theme (with textural variation) with coda. 

I'd love to have some comments regarding the orchestration -as that's still an area I'm trying to strengthen.

Hope you enjoy!

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Well built crescendo at the beginning. Nicely melody taken by the oboe and reinforce with basson and the remaining winds. Good climax again from 44 to 52, although the ascending scale in the two final measures is a bit "standard". It goes on with the strings and timpani adding winds in other theme, very nice.

It changes to a quieter manner with contrast. Beautiful rising and fall with the vibraphone taking part. Final rich part, rhytmically.

I like this piece very much.Tension-relief..., perfect. Interesting melodies and rhythm

Why is the clef in "contrabajo" (double bass) with that "8".

I think the strings are overused a little bit (the never stop playing), sometimes it's part could be transferred and adapted to the brass section.

Nice nice job.

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The bass part is an octave lower than written -which is normal for string bass -MuseScore set the clef. 

The ascending c major scale was just an idea I had toyed with. I was going to make that a theme or motif but decided against it -and just kept it cause I liked that passage. 

I use the strings a great deal because I'm more comfortable writing for them (it's the violist in me!). The winds are so used a large amount during this movement. Brass far less since they are the most foreign to me. But I'm improving!!

Glad you liked it. 🙂

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Contrabass should be Doublebass if you're using the English names.  

Critique: I had to listen to this piece thrice.  I do see how you developed your motif however, I see two problems.  Because this piece is so thick at times, there is not a sense of repose anywhere here.  It needs a breath in some of those thick moments. Yes, a musical breath. Around meas. 134 it slightly happens.  That should probably be longer.  The second thing I see is the lack of vertical.  This composition is VERY horizontal. Truth be told, I like it. Along with the "breath", there should be a horizontal approach.  it's slightly difficult to write what it is here. Listen to Claude Debussy, Prélude à l'Après-midi d'un faune.  The horizontal is SO there and the musical breath!

 

My $0.02

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On 2/19/2020 at 12:58 AM, maestrowick said:

Contrabass should be Doublebass if you're using the English names.  

Critique: I had to listen to this piece thrice.  I do see how you developed your motif however, I see two problems.  Because this piece is so thick at times, there is not a sense of repose anywhere here.  It needs a breath in some of those thick moments. Yes, a musical breath. Around meas. 134 it slightly happens.  That should probably be longer.  The second thing I see is the lack of vertical.  This composition is VERY horizontal. Truth be told, I like it. Along with the "breath", there should be a horizontal approach.  it's slightly difficult to write what it is here. Listen to Claude Debussy, Prélude à l'Après-midi d'un faune.  The horizontal is SO there and the musical breath!

 

My $0.02

 

 In regards to your critique. I'm glad you like it. This is going to be the first movement of a much longer work. So, the 'breath' will come in the later movements. I'm working on strengthening my orchestration skills. I suppose what one can say this work is focusing on is taking the voice I've developed in my piano and chamber works and expanding it to the full orchestra. The thickness of the textures and overall style of the piece is a result of that. I've always felt overwhelmed writing for so many instruments and creating something that is fully coherent and organized. You don't get that as much with works scored for smaller ensembles and soloists.

That said, you mentioned something about 'opening the door' in terms of orchestration. I've no idea what that means -but am intrigued to learn more. I'd like to develop and strengthen my orchestration skills. Any tips and pointers would greatly help that endeavor. 

Again, thanks for the comments and feedback!

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4 hours ago, jawoodruff said:

 In regards to your critique. I'm glad you like it. This is going to be the first movement of a much longer work. So, the 'breath' will come in the later movements. I'm working on strengthening my orchestration skills. I suppose what one can say this work is focusing on is taking the voice I've developed in my piano and chamber works and expanding it to the full orchestra. The thickness of the textures and overall style of the piece is a result of that. I've always felt overwhelmed writing for so many instruments and creating something that is fully coherent and organized. You don't get that as much with works scored for smaller ensembles and soloists.

That said, you mentioned something about 'opening the door' in terms of orchestration. I've no idea what that means -but am intrigued to learn more. I'd like to develop and strengthen my orchestration skills. Any tips and pointers would greatly help that endeavor. 

Again, thanks for the comments and feedback!

 

 

Anytime!!!!  the breath should be in ALL movements if you can.  What are your favorite orchestra pieces?  I'm quite positive they ALL have that breath in them.

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On 2/21/2020 at 4:39 PM, Markus Boyd said:

Wow. Impressive stuff. This has certainly caught my fascination. I can't offer any valuable criticism however as this is well beyond me. I would love however to hear it with real instruments which I suppose is everyone's dream on here 😀

 

That is everyone's dream. Glad it caught your fascination. 🙂

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