"June, 1944" for Brass Band (WIP for Tampa Bay Call for Scores)

TampaBay.pdfSo.. I am currently working on a second submission for another call for scores (2/2 now. Submitted one for another competition last week). I would appreciate some feedback on the current progress of this score as it is. I'm looking for answers for:

1. Voice leading; have I been effective with creating smooth transitions between the chords, and leading tones into the different sections? If not, where could I improve this?

2. Form; is the form, starting points & destinations easily distinguishable, enjoyable to follow and effective in the narration of the depicted theme?

3. How could I better write for texture, at and beyond the C rehearsal marking?

The score is a tribute and homage to the lives lost during the allied offensive in Germany, kicking off on D-Day in June of 1944. You'll see my call-back to Taps, in a variable manner, near the end of my current stopping point. Enjoy listening & reading along, and I look forward to the feedback I may receive :)

Hi @UncleRed99 !

I think it's a very nice and sonically pleasing work! The inclusion of Taps in the piece (albeit with liberal artistic license) enriches the message of the piece being a dedication to those who died on D-Day (probably the most gruesome and intense engagement in WWII). I think I could compare you to Brahms in a way, because Brahms in his harmonic structuring of his pieces was so dependent on 3rds and 6ths (something he also had in common with Percy Grainger). Your music on the other hand is very suspension-heavy, constantly creating those major and minor 2nds that rub and resolve pleasantly to major or minor sonorities. I think you should be weary of this however, since this style of writing for brass is very common in the DCI (Drum Corps International) universe and doesn't win you points for originality, creativity or style. Although I would argue that you do have a certain personal style that is recognizable. Thanks for sharing!

Kyle, i think you've stepped out of your "Comfort-Zone" to explore the rest of the orchestra

I see images with this track, that go further than the one "Theme-Category"

personally i have to have a picture or film, in front of me , before i can start anything.

The orchestra has a lot of different players, playing different instruments.

Example : Breakfast - Lunch - Dinner - | " what do want today for your : Breakfast - Lunch - Dinner " ?

chips-chips-chips .........................i want the orchestra to play | violins-violins-violins

so the rest of the orchestra that doesn't play violins are .......REDUNDANT .......There just sitting there doing Nothing.

so its so refreshing to hear you use The rest of the orchestra......

be nice to NAME the instruments your using in your productions.

4 hours ago, PeterthePapercomPoser said:

Hi @UncleRed99 !

I think it's a very nice and sonically pleasing work! The inclusion of Taps in the piece (albeit with liberal artistic license) enriches the message of the piece being a dedication to those who died on D-Day (probably the most gruesome and intense engagement in WWII). I think I could compare you to Brahms in a way, because Brahms in his harmonic structuring of his pieces was so dependent on 3rds and 6ths (something he also had in common with Percy Grainger). Your music on the other hand is very suspension-heavy, constantly creating those major and minor 2nds that rub and resolve pleasantly to major or minor sonorities. I think you should be weary of this however, since this style of writing for brass is very common in the DCI (Drum Corps International) universe and doesn't win you points for originality, creativity or style. Although I would argue that you do have a certain personal style that is recognizable. Thanks for sharing!

With that being said, do you think I might have a shot at being the chosen work? 😅
I've only ever submitted work to 2 other calls before. This will make 4 now, once I submit this, after its completion...

I'd also like to ask; what about my work makes it recognizable as "oh, yeah that's UncleRed's work, right there"? lol

2 minutes ago, UncleRed99 said:

With that being said, do you think I might have a shot at being the chosen work? 😅

LoL .. I really don't know and can't say. The judges at these things could be much stricter than our community here on Young Composers.

3 minutes ago, UncleRed99 said:

I'd also like to ask; what about my work makes it recognizable as "oh, yeah that's UncleRed's work, right there"? lol

Your rhythms - you have a characteristic way of meandering up and down and you can't resist the inclusion of occasional triplets LoL

"Meandering Up and down".......................... that made me laugh out loud , or should i say LOL ?

Kyle , i think it depends on the judges " AGE-GROUP "............... so if there on the very edge of " Checking-Out "

then they will "Expect" you to conform to "their " ideal, where as a Younger group of judges will want to be "Refreshed"

15 hours ago, PeterthePapercomPoser said:

Your rhythms - you have a characteristic way of meandering up and down and you can't resist the inclusion of occasional triplets LoL

I have noticed that I love me a good set of triplets. Breaks from the steady 1-2-3-4, or 1-&-2-&-3-&-4-& rhythms that you get in the common X/4 time signatures, without deviating from the familiarity of it. Can't help myself. xD

I also noticed that I tend to use add9 and 2 chords quite often, both in major and minor. with the occasional major 7th sprinkled in for good taste. I'm going to try and compare my scores, one of these days, to find out what my ear does when I'm composing, because I tend to just follow through with writing what feels right, while stopping to make educated inferences on what would be most effective moving forward, before reverting back to letting my ear lead the composition again, while the cycle repeats until the end of the score.

I 'spose I have some reflection to do xD

1 hour ago, UncleRed99 said:

I have noticed that I love me a good set of triplets. Breaks from the steady 1-2-3-4, or 1-&-2-&-3-&-4-& rhythms that you get in the common X/4 time signatures, without deviating from the familiarity of it. Can't help myself. xD

I just hope you don't use triplets as a crutch. I think beginning composers often struggle with writing good melodies that don't sound like just noodling up and down in a certain scale/key and introducing triplets or other novel rhythms is a crutch that many use to try and create melodic interest and imo it doesn't really work. Nothing can substitute for a good idea of where a melody is going and having a good form/structure.