flute piano A Snow Dance Somewhere Else - for Piano and Flute.

Here is my entry for this year's Christmas Music Event! It's not really a Christmas piece, but it is about snow and winter, and it does have quotes from a Christmas carol. It's the first thing that popped out of my mind in the 1st of December when I started writing the piece.

The story/idea behind this piece was supposed to be a person's imagination of what it's like to have snow on their town in December since they live in another part of the world that isn't snowing. It was originally titled "It's snowing somewhere else" (still a good title in my opinion). But the piece felt like it showed a little bit more on the rhythmical side, so I changed the title to that.

Score is now available!

New title by Thatguy v2.0 (old title: Snow Dance)

Hope y'all enjoy the piece and Happy Holidays!

2 hours ago, Ferrum said:

It's not really a Christmas piece, but it is about snow and winter, and it does have quotes from a Christmas carol. It's the first thing that popped out of my mind in the 1st of December when I started writing the piece.

Eh, snow, winter, Christmas carol quotes...how is this not Christmas? 😄

2 hours ago, Ferrum said:

The story/idea behind this piece was supposed to be a person's imagination of what it's like to have snow on their town in December since they live in another part of the world that isn't snowing. It was originally titled "It's snowing somewhere else"

Snow Dance is a fine title, but I really like your original intention. What if it was "A Snow Dance Somewhere Else", or something like that? I feel like that has a bit more character to it, even eluding to your original idea. Whatever you go with, though, it works for me 😄

2 hours ago, Ferrum said:

Sadly couldn't get the score in time due to me wanting to post this before Christmas day, so expect the release of the score in the upcoming week or two.

No worries, man. I'm actually curious about this. I'm assuming you worked in a DAW first, then would go to notation software to produce the score? Is that your normal process? I'm curious because I'm the exact opposite; I have to write in notation before using a sequencer to produce the sound samples needed. I like to see how every note is related on staff paper before I care about how the samples will sound. I feel like my process is fairly quick, too, since once notated I know exactly how I want the sound samples to paint the picture. 

Is it because you enjoy hearing the more realistic sounds as you're composing? Does that help with your process? Like. do the samples help in the creativeness? I'd love to hear your thoughts on this since I really dig your sound!

Also, any reason you chose the ensemble you wrote for? 

Love the music as always, thanks for sharing!

51 minutes ago, Thatguy v2.0 said:

I'm assuming you worked in a DAW first, then would go to notation software to produce the score? Is that your normal process?

Yep, you just guessed my normal process of composition lmao

52 minutes ago, Thatguy v2.0 said:

Is it because you enjoy hearing the more realistic sounds as you're composing? Does that help with your process? Like. do the samples help in the creativeness? I'd love to hear your thoughts on this since I really dig your sound!

There are many reasons why I use DAW first when I compose. Now, It's very subjective and I can't explain every single one of 'em, so here are some of the ones that stands out in my head.

Firstly, If I compose for a solo piano or with solo piano included, I can customize the dynamics of every single note that I put in with one single click. By doing this, I can underline different voices much more clearly. For me, even if my composition will not be played anywhere else, the connection between a performance and the process of making a piece can't be separated. That's why I try to mimic how a performer would do these passages. I feel like the dynamics of every single note can make a huge difference to how the piece will turn out.

Secondly, I can inject more expression to a piece with rubato easily. Just with a few clicks I could adjust the tempo changes easily whenever I want it to be, drag it wherever I want it to be, and it makes the passage sounds more expressive. I am in total control with how I'd want to express emotion. With this, I can create passage that sounds great when I put rubato in.

For me, having much more realistic sound really does make that creative juice keep flowing. I can't tell how many times I just sit through a session for so long just because the sound that I make matches the sound in my head.

Alright, I ran out of my brain power to explain, so here are some quick reasons:

• I don't have a piano, having the piano in the side and using the piano roll to compose makes it more clear of how a performer would press down the notes.
• Quickly copy-pasting a theme, variating, and combining it with other themes.
• You can move around stuff fast.
• Have a clear direction of harmony.
• Clearly see the distance between notes, therefore can see the playability of the passage. 
• You don't have to focus on both composing and notating, since they happen in two different programs.

1 hour ago, Thatguy v2.0 said:

Also, any reason you chose the ensemble you wrote for? 

No particular reason really. Last time I wrote for piano and clarinet. This time I want to write stuff for woodwind similar to last time, so I chose flute.

1 hour ago, Thatguy v2.0 said:

What if it was "A Snow Dance Somewhere Else", or something like that? I feel like that has a bit more character to it, even eluding to your original idea.

Might yoink the title (thank you for the genius combination really why didnt i think of that aaaaaaaaaa)

17 minutes ago, Ferrum said:

There are many reasons why I use DAW first when I compose. Now, It's very subjective and I can't explain every single one of 'em, so here are some of the ones that stands out in my head.

Firstly, If I compose for a solo piano or with solo piano included, I can customize the dynamics of every single note that I put in with one single click. By doing this, I can underline different voices much more clearly. For me, even if my composition will not be played anywhere else, the connection between a performance and the process of making a piece can't be separated. That's why I try to mimic how a performer would do these passages. I feel like the dynamics of every single note can make a huge difference to how the piece will turn out.

Secondly, I can inject more expression to a piece with rubato easily. Just with a few clicks I could adjust the tempo changes easily whenever I want it to be, drag it wherever I want it to be, and it makes the passage sounds more expressive. I am in total control with how I'd want to express emotion. With this, I can create passage that sounds great when I put rubato in.

For me, having much more realistic sound really does make that creative juice keep flowing. I can't tell how many times I just sit through a session for so long just because the sound that I make matches the sound in my head.

Alright, I ran out of my brain power to explain, so here are some quick reasons:

• I don't have a piano, having the piano in the side and using the piano roll to compose makes it more clear of how a performer would press down the notes.
• Quickly copy-pasting a theme, variating, and combining it with other themes.
• You can move around stuff fast.
• Have a clear direction of harmony.
• Clearly see the distance between notes, therefore can see the playability of the passage. 
• You don't have to focus on both composing and notating, since they happen in two different programs.

Very cool, I love hearing the process of other composers. You know, I'm the exact opposite of you lol. I need to write with notes on staff paper first, it gives me a clear sense of direction and everything you mentioned before inserting into a DAW. We're all different, though, I guess that's one part of what makes all this music nonsense we all love so unique. 

You don't have a piano? Dude, you wrote your theme and variations piece without reference to ideas you plucked out on piano first? F'in genius man

21 minutes ago, Ferrum said:

Might yoink the title (thank you for the genius combination really why didnt i think of that aaaaaaaaaa)

Do it. You created the idea, I just added things together 😄

Again, wonderful piece, and thanks for sharing mate! You're quite the composer, and someone I'll always watch out for when posting new music

6 minutes ago, Thatguy v2.0 said:

You don't have a piano? Dude, you wrote your theme and variations piece without reference to ideas you plucked out on piano first? F'in genius man

Well uhh it's much more complicated than that actually. I kinda modify the ideas on the piano roll and I guess some in my head as well. It really takes years of practice to get the hang of composing classical pieces in DAW, and i listen to different classical pieces like, a lot, so I kinda get the jist of piano playing from that. Really though, thank you for the compliment! 

Lovely stuff. Nothing really to fault in terms of material and developmental but I'd need to see a score to give me a better idea of that (no pressure though, take whatever time you need). This piece really really needs a live recording if you have any way of organising that!

The criticism I can come up with regards the flute writing. Everything is within range and you use the entire range throughout the piece - great for colours. However, right near beginning you hit lots of very top C's and B's. Although not technically bad, I wouldn't use them so near the start as for one thing it will tire out the performer. Also if you are using these extremes of range in the opening, it doesn't leave you any register to build intensity with later in the piece. Just a thought.

Thanks so much for sharing this piece and entering the Christmas event!

Really has nothing to say to this beautiful piece! Just wonderful and amazing! Great variation!

11 hours ago, Ferrum said:

Firstly, If I compose for a solo piano or with solo piano included, I can customize the dynamics of every single note that I put in with one single click. By doing this, I can underline different voices much more clearly. For me, even if my composition will not be played anywhere else, the connection between a performance and the process of making a piece can't be separated. That's why I try to mimic how a performer would do these passages. I feel like the dynamics of every single note can make a huge difference to how the piece will turn out.

Secondly, I can inject more expression to a piece with rubato easily. Just with a few clicks I could adjust the tempo changes easily whenever I want it to be, drag it wherever I want it to be, and it makes the passage sounds more expressive. I am in total control with how I'd want to express emotion. With this, I can create passage that sounds great when I put rubato in.

For me, having much more realistic sound really does make that creative juice keep flowing. I can't tell how many times I just sit through a session for so long just because the sound that I make matches the sound in my head.

Alright, I ran out of my brain power to explain, so here are some quick reasons:

• I don't have a piano, having the piano in the side and using the piano roll to compose makes it more clear of how a performer would press down the notes.
• Quickly copy-pasting a theme, variating, and combining it with other themes.
• You can move around stuff fast.
• Have a clear direction of harmony.
• Clearly see the distance between notes, therefore can see the playability of the passage. 
• You don't have to focus on both composing and notating, since they happen in two different programs.

Wow such a detailed explaination on your compositional method. Really interesting to know other conposers' approach!

Usually my working progress is:

1. Burst out of inspiration suddenly, immediately jot it down.

2. Develop the idea both consciously and subconsciously, and ensure the developments tightly connected.

3. If there enough passages, start composing on the notation software, at the same time carry a notebook to jot down any relevant ideas and inspirations.

My approach is always on ideas first, and how its sound comes later. For example I always add dynamincs, tempo and articulation much later than writing ideas first. I have the sound in my mind and don't think I have to add those little details first since it will prevent me to compose new passages, rather than help me. And my approach is usually absolute, not to depict real sounds. It's so fascinating here to see different approaches and styles in YC!

Really grateful for your sharing! And Merry Christmas!

Henry

11 hours ago, aMusicComposer said:

However, right near beginning you hit lots of very top C's and B's. Although not technically bad, I wouldn't use them so near the start as for one thing it will tire out the performer. Also if you are using these extremes of range in the opening, it doesn't leave you any register to build intensity with later in the piece. Just a thought.

Yeah I kinda noticed this when I reached almost the end of the process and started notating. I feel like I used the high register too much just because I was following the rules of "low register flute sounds somber, quieter, and more introverted than the high register". But I did however use the lower register at the recapitulation. I wanted the start of the piece to just burst into liveliness after the light intro. And in my opinion, I think I did an "ok" job at building the intensity later at the piece, but I still standby your criticism. 

Thank you for the feedback!

2 hours ago, Henry Ng Tsz Kiu said:

Usually my working progress is:

1. Burst out of inspiration suddenly, immediately jot it down.

2. Develop the idea both consciously and subconsciously, and ensure the developments tightly connected.

3. If there enough passages, start composing on the notation software, at the same time carry a notebook to jot down any relevant ideas and inspirations.

My approach is always on ideas first, and how its sound comes later. For example I always add dynamincs, tempo and articulation much later than writing ideas first. I have the sound in my mind and don't think I have to add those little details first since it will prevent me to compose new passages, rather than help me. And my approach is usually absolute, not to depict real sounds. It's so fascinating here to see different approaches and styles in YC!

Honestly, your working progress isn't really that much different other than the dynamics, tempo, and articulation part, and also I do that all on DAW. I always record myself humming to a theme that just popped out of my head when I was bored in college, or well, when I take baths (seriously, I get so many ideas for theme or motivic development just by taking baths). Though with this particular piece, I built the theme from scratch. 

It IS really fascinating to see many different approach of composition methods here. Thank you for sharing!

Lovely piece, the two instruments play around well together. the music resembles the title and idea. It was a surprise the second section, faster and almost jazzy.

I'm not sure if it's the mixing or the writing. At some points, the bass notes in the piano seem to be too close.

23 minutes ago, Luis Hernández said:

Lovely piece, the two instruments play around well together. the music resembles the title and idea. It was a surprise the second section, faster and almost jazzy.

I'm not sure if it's the mixing or the writing. At some points, the bass notes in the piano seem to be too close.

 

It is the mixing. I made the bass frequency just a tad bit higher to make it sounds a lil bassy, might overdone that but hopefully it didn't ruin the listening experience.

Thanks for the reply!

Score is now available!

Hey @ferrum.wav!  Since I saw that you recently listened to some of my old works I decided to dig into some of yours!

I don't know how I missed this one!  Great work!  It's very easy to listen to and relax which is what I did the 1st time through.  The 2nd time through I listened with the score.  Very nicely crafted piece of music which seems like it could be a really great candidate for an orchestration!  It would be great to hear this as a Flute concerto!

Reading about your process reminded me of when I used to compose into my DAW back in the day (at the time I was using Cakewalk Home Studio 2002).  It had the option of using piano roll, but also a really basic notation option which only gave you one 12-note set of enharmonics you could use for each key you chose, so I quickly had to get used to spelling pitches using the wrong enharmonics and the whole annoying process of fussing over correct pitch spelling just kind of went away which is what I suspect you like so much about writing in the piano roll.  Another thing you talked about was how you could really meticulously control the velocities of all the notes being played by the piano and the tempo changes.  I also feel like I used to have more control when I wrote into my DAW/sequencer in that regard, but I've learned to make use of Musescore MS Basic piano soundfont which takes into account velocity offsets if I want to include them.  Musescore also allows me to change the tempo as meticulously as I want but I haven't really had to go in and fuss about with that very much given that Musescore has an automatic accel. or rit. which works from an initial tempo to a destination tempo pretty well.

I think it does sound gentle and cold like a snowy afternoon.  It avoids some much more easily made Christmas connotations/cliches.  I don't know what Christmas Carol you quote here though, at least I didn't notice it.  Thanks for sharing!

9 hours ago, PeterthePapercomPoser said:

Since I saw that you recently listened to some of my old works I decided to dig into some of yours!

Heh thought you'd notice! I really want to listen to you guys' pieces since you and @Henry Ng Tsz Kiu has been commenting constantly on my pieces and others, and I've only listened to a handful of you guys'.

9 hours ago, PeterthePapercomPoser said:

I don't know how I missed this one!  Great work!  It's very easy to listen to and relax which is what I did the 1st time through.  The 2nd time through I listened with the score.  Very nicely crafted piece of music which seems like it could be a really great candidate for an orchestration!  It would be great to hear this as a Flute concerto!

I've honestly been avoiding listening to this piece cus I had thought that there's a lot that I could change and all that. For example, I'd probably tone down the flute's high notes since it's so frequent and a reply here has pointed out that too. But honestly, it ain't that bad lmao. And hey, I wouldn't mind a concerto arrangement, but I think this chamber instrumentation suits it more.

9 hours ago, PeterthePapercomPoser said:

Reading about your process reminded me of when I used to compose into my DAW back in the day (at the time I was using Cakewalk Home Studio 2002).  It had the option of using piano roll, but also a really basic notation option which only gave you one 12-note set of enharmonics you could use for each key you chose, so I quickly had to get used to spelling pitches using the wrong enharmonics and the whole annoying process of fussing over correct pitch spelling just kind of went away which is what I suspect you like so much about writing in the piano roll.

You're exactly right. And that's exactly why some of my older scores are just atrocious with pitch spelling, cus I was a dummy and had not figured how they worked yet, even here too in some places! It is one of the reason why I want to revise some of my older pieces.

9 hours ago, PeterthePapercomPoser said:

It avoids some much more easily made Christmas connotations/cliches.

me when sleigh bells 

9 hours ago, PeterthePapercomPoser said:

I don't know what Christmas Carol you quote here though, at least I didn't notice it.

It's "Carol of the Bells." The first theme is loosely based on it, the sequence starting from b.122 has the rhythm, and the actual quote appears in b.193

Thank you for all the kind words!