Sinfonia Nummer eins in D dur

Here is the beginning of my first symphony; it's really more a sketch, I just started this morning. The red notes signify another instrument (oboe= clarinet, trumpet= trombone, violin=2nd violin) because Notepad only allows 8 staves so I tried to somewhat beat the system.

I changed a few things so here is a revision.

I can't force myself to comment on something so very early in the process, but at least i can help out. :blink:

Here is a midi of the symphony and a full orchestra at your disposal.

FP, that's a nice start. The opening motive is nice and strong.

Once you get beyond the opening motive, things turn quickly problematic. It looks to me like your method is to put down a melody, and then sort of guess what might work as accompaniment. The results are ambiguous. Looking at measure 3, what you have in violin 1 is workable, and the chords outlined in the viola imply a harmony of D major for the first half of the measure, G on beat 3, and D again on beat 4; this works fine with the 1st violin part. Then in the 2nd violin you outline D on beats 1 and 2, which is OK, but G on both beats 3 and 4; beat 4 will then clash with what's in the viola, which is outlining D on beat 4. Do you see?

In measure 2, on beat 3, you have clearly outlined an A major chord in most of the parts, and then you inexplicably write two crotchets on D in the 2nd violin. D is not part of an A major chord, so it clashes. You could easily have chosen to write an E or a C# in the 2nd violin...is there some reason why you did not? You did the same with the trumpet parts; they keep playing in D while everyone else is moving to A. This doesn't make sense.

This sort of thing is going on all over the first couple of pages, and I don't understand how you've come up with what is in your bass part. A bass part can be made interesting, and it's clear you're trying to make yours that way, but its primary function must be to support the harmony above it. The music must have a strong foundation, or like a building, it will fall. As boring as it sounds, in measure 3 I'd have written all Ds for the bass. The F# in the bass doubling the viola leaves the chord with no root in it. If you'd written the viola part with D-to-A semiquavers instead of F#-toA, that might have worked better, because then the viola would have the root of the chord. Do you see?

One more thing: remember that timpani have a very limited range, from F below the bass staff to F on the second line from the top. That's only an octave. You've written your timpani part with a top-line A, a major third higher than the instrument typically has. You'll need to use the bottom-space A instead. If you listen to Mozart, Haydn and Beethoven symphonies in A or D, they all use that lower A.

I don't want to discourage you - not at all - but trying to write symphonies before you have mastered basic harmony, voice leading and part writing is going to leave you disappointed and frustrated. Take it from one who knows first-hand - I started at least three symphonies before I finally finished one when I was 22 and had been composing for 13 years already - and even that nearly falls flat on its face in a few places (see my B-flat Symphony posted in the Major Works). In those early attempts, it became obvious to me very quickly that I didn't have the experience I needed, so I decided to wait and compose pieces that were within my reach, or just a little beyond so that I could grow. It means we have to be fearlessly honest with ourselves as composers, and above all, patient.

It sounds boring, but try writing duets, trios and piano pieces first, and not major works. Get a really good feel for what works with just a few parts before you start trying to juggle sixteen or twenty. That would be my suggestion; it will be a much better use of your time and effort. You also might try playing sections of your music slowly on the piano, so you can really hear what's going on.

You're a talented guy...just don't try to do too much too soon. ;)

Thank you Mr. Graham, your comments are much appreciated as I am not very experienced in writing music; I try but usually do not write extraordinary stuff. I have made the suggested changes and added a bit more accompaniment to the piece. As for the sponteneity of my strange chord structures (like the D's in the 2nd violin in measure 2) must be because of the fact that I get carried away or forget what chord has what notes. I will pay more attention from here on to what notes I use when I compose for full orchestra (it's much easier with smaller instrumentation). As for smaller compositions, I already have written several but many are not finished unfortunately.

Hey, after you learn the basics, which I completely agree with, study the romantics and the impressionists. Learn to use ambiguity... blur, and confuse. Study chromatic harmony... it will do wonders for your works. But beware, don't lose the listener. Always give them a V or tonic to help them find their way. Personally, I do use some theory to help guide and build foundations but I never ignore my ear and feelings even if they contradict a standard set of rules - the common practice.

One more thing: remember that timpani have a very limited range, from F below the bass staff to F on the second line from the top.

The timpani can actually play from a low D (below the staff) to a high C (middle C, 1st legger line above the staff). He could be refering to the romantic, classical, or another time period and if thats the case im not sure, but todays timpani can play from the D to the C. So actually your high A works, but usually low notes are better on timpani