The Sun Dappled Forest Mk II (orchestral version)

Hi everyone.

This week I've revisited my piece "The Sun Dappled Forest" (1st movt), and replaced all the electronic instruments with orchestral equivalents.

Hope Peter approves!

I've also added lots of new embellishments, that hopefully make it more interesting?

I think this is a great minimalist piece! I don't feel bored at all because the timberal change is great!

Is there harpsichord in around 0:54? Quite interesting to have it with other ochestral instruments! Nice use of harp in 1:10!

That brass calling in 4:05 comes out of nowhere and it's amazing! But suddenly the piece ends! I do find the ending too abrupt, and hope to have a little more development on the brass call though.

Great job by using different orchestral colours!

Henry

Hi Henry.

So glad you enjoyed it!

I didn't really set out to make a minimalist piece, it just ended up that way, because I'm still a novice composer, and minimalism is easier to write! Hopefully I can write something with more dense orchestration eventually.

It is indeed a harpsichord you're hearing.

The French horn section at the end is supposed to be a fanfare leading into the second movement, which you can find here:

It also helps to conceal the change in tempo, as the second movement has a faster beat.

I've been told I should extend the second movement, and build up to a tutti at the end. So that's my next job!

Also forgot to say, Merry Christmas and Happy Holidays to all the Forum!

Alex

A peasant enough piece and yes, minimalist in that it doesn't really develop aside from changing timbres, much as an organist might change stops to keep up interest, about which there's nothing wrong if that's your style. However, even minimalist composers bring in changes of material every few minutes. Have a listen to Mike Nyman or Philip Glass. Glass' Satyagraha (played on an organ)  is a beautiful work. See below, a better rendition than I posted last night.

A possible development now is learning how to bring in new keys either using conventional modulation or more abruptly if you choose. All good work, anyway.

Hi Quinn.

Many thanks for taking a listen, and for the recommendation.

I do like Philip Glass, as well as Steve Reich.

My piece makes some use of the subdominant key, with the introduction of B flats. Not sure if that counts as a key change though?

The contrapuntal piano passage was intended to contrast with the opening section, and the baroque style is continued through the second movement.

I could perhaps try to include a key change when I rewrite the second movement, though they can be quite hard to pull off.