'Love' - Chamber Ensemble. I wanted to express the phenomenon of love.

Hello @Symphonic,

I quite enjoy your use of the opening two note motive throughout the piece and it’s quite flowing. The The modulation to Db major in 2:40 and then to Ab major is quite lovely! 

I think the transposing instruments should be written in a transposed key? Or this is not a transposed score?

Normally the percussion should be written below the brass?

Can you share more how the piece is related to the phenomenon of love? I would love to hear your thoughts!

Thx for sharing!

Henry

Many incredible moments! It is bursting with color with a subtleness not everyone can balance. Bravo! If I may begin a discussion about some of the orchestration, you are free to respond by explaining why you made these decisions rather than me just claim them as 'mistakes' whatever that means in terms of music 🙂

- The flute is much too low to be heard over the instruments, many of which play in mezzoforte. I understand it is not a solo instrument and you want it to blend, but it would be completely swallowed up. It is also too low of a register to play mezzoforte itself since these low register are very delicate in terms of air flow. Usually you would right louder passages higher on the flute and quieter passages lower. Think about how the flute works overall, the 1st partial (octave) is reached by overblowing the given note, so the lower notes need less air by the nature of the instrument. Hope this makes sense. If you wrote the part an octave up, I believe you will still achieve what you were going for since the flute is still rich and woody until you get into the higher 3rd register. Another option, would be to right it as an Alto Flute, which is one of my favorite instruments. It has an incredibly warm and beautiful quality to it.

- The second violin enters in a piano dynamic at the end of the first page and later on crescendos back into piano, i dont see a real need to have a piano violin over a mezzoforte viola, maybe you meant to write mezzoforte from the beginning?

-  I see you thinking very much like a conductor in terms of dynamics which is great, never loose that instinct, but the players may not interpret it how you think. remember they only have their own parts so when you have violin 1 playing piano and violin 2 playing mezzopiano, there wont be much of a difference. Sometimes less is more, or at least accuracy is more. Sometimes writing 'solo' over an instrument is all you need to tell the player to stand out or even simple crescendo marking or hairpins rather than inconsistent dynamics all throughout. I would say score read specifically with dynamics in mind, probably impressionistic French or Russian composers. 

- Also check your rhythms to make sure you don't blur any beats. You should always be able to see a strong beat.

Amazing work overall, dont let my thoughts change this great creative accomplishment. Thanks for sharing!

-Nick Schuman

It's crucial to strike a balance between expressing artistic intent and providing practical guidance for performers.