Concerto for Double Bass and Orchestra

A movement (probably third; final) for the Double Bass Concerto I am currently writing.

Any feedback welcome.

the double bases playing the 16th notes in the beginning feels extremely dense and contradictory to the intended light texture in the beginning, I'd have them either playing pizzicato every few measures or not at all. When the violins take the melody, maybe integrate the winds into the pulsating rhythm, this will also cover space after you hopefully remove the double bass within that texture. The dissonance in measure 44 sounds out of place. However, your melodic lines sound mostly very natural and I could imagine would be phrased nicely. They were quite enjoyable. I would advise you gain a better understanding of orchestral texture and weight distribution, so you can achieve a more balanced and natural sound. Keep in mind double bass may find it difficult to stick out of a full orchestral texture as well. Good luck and happy composing!

10 hours ago, veps said:

Keep in mind double bass may find it difficult to stick out of a full orchestral texture as well.

I've tried to only have Solo Bass as either solo or limited accompaniment for that reason but I'm be exactly sure how much is too much.

Hi @malumCompositor,

For me this is quite enjoyable concerto in classical style. I especially love those tremolos accompaniments.

What is the form for this finale? I think you can go for a rondo or sonata-rondo for it. For me most of the passages are in D major and only in the middle section you modulate to G major (which fits for the second episode of the rondo). I think you should include passages modulating to the dominant A major as well in this style.

Also I find in many solo passages you only have the solo double bass playing, and this makes the music dry, and the sudden change of texture is abrupt. I think you can retain the tremolo accompaniment under the double bass solo. This won't overwhelm the solo but decorate it.

For the cadenza, at the beginning of it usually has a I 6/4 chord in fermata, then the solo instrument goes into its own cadenza. Here before the cadenza it's also a solo passage, so no one will know the cadenza is coming!! For the end it's right to include a trill though to signify the return of the orchestra.

Thanks for sharing,

Henry