Experiment!

So I decided to try something completely different from my usual cliche classical stuff and rather exotic results by my standards. It sounds like it could be used in the scene of a film... or something along those lines...

Scored for my usual woodwind choice

What a sad piece!  Sounds like the introduction to a Requiem mass.  I hope you expand on this - it has some emotional dissonances in it that I like.

Oboe that high playing piano? It's possible but definitely not ideal.
Perfect fifths stack cadence at 7 I'm assuming is the modulatory point but ends up sounding a little dead to me.
Major second voice exchange between clar and bassoon in m. 10 is a little bit strange since it doesn't suspend anything except timbre.
Overall, it's nice, though. Just make sure your measures use proper rests...

3 hours ago, Monarcheon said:

Oboe that high playing piano? It's possible but definitely not ideal.
Perfect fifths stack cadence at 7 I'm assuming is the modulatory point but ends up sounding a little dead to me.
Major second voice exchange between clar and bassoon in m. 10 is a little bit strange since it doesn't suspend anything except timbre.
Overall, it's nice, though. Just make sure your measures use proper rests...

 

Yes, I did see those points you make and have resolved in the following way. When I heard the playback it sounded alright, which is why it sometimes helps to hear instruments in isolation.

I think Teleman's opening to his Brokes-passion is influencing me somewhat here. It sounds very modern for its time owing to the dissonances he uses. I think I will continue working on this

Nice work so far, I'd consider this more for the incomplete works section, but alas great start!

I'm overly paranoid of wind players and breath, so watch that long flute line. Impressive so far, I'm curious where you'll take this one. 

3 hours ago, Thatguy v2.0 said:

Nice work so far, I'd consider this more for the incomplete works section, but alas great start!

I'm overly paranoid of wind players and breath, so watch that long flute line. Impressive so far, I'm curious where you'll take this one. 

 

Thanks. I feel that I am verring back towards classical, particualry with the latest passage! I do have a few ideas for where to go... with a few surprises in mind. It is an interesting task to do something less in line with one's prior experience and I do feel a greater freedom by doing so. 

That's very cool Markus! Thought the language is classical, I see some differences with your previous works. I like the mood very much and I love the use of dissonances and suspensions. Congratulations! You just have to get it finished. 

Only a minor critic, I feel the staccatos on bassoon and other parts a bit out of the place in my opinion. I would have keep it all legato, unless you have a constrasting section in mind...

On 8/1/2020 at 4:27 PM, Guillem82 said:

That's very cool Markus! Thought the language is classical, I see some differences with your previous works. I like the mood very much and I love the use of dissonances and suspensions. Congratulations! You just have to get it finished. 

Only a minor critic, I feel the staccatos on bassoon and other parts a bit out of the place in my opinion. I would have keep it all legato, unless you have a constrasting section in mind...

 

Thanks my friend. I am looking at creating some contrast and I personally feel that the prinner in A Flat, with the staccato pattern, provides an interesting contrast. It is evident, however, that I am not very good interchanging between the two moods I have thus far set as I now feel inclined towards my usual classical idioms... The other thing which has made this project challenging is that I have finished the first section in A Flat Major, which is unusual and impractical. I now better understand why it is common practice to modulate to dominant harmony as it allows for a much more flexible development, whereas in this example I am not inclined to modulate to D Flat Major or B Flat Minor... An interesting challenge nonetheless