Alex Weidmann

Hi Wieland, Thank you so much for your detailed review! When I encounter the squiggly arpeggiation symbol on a piano chord, I tend to either put these in the harp; or ignore the arpeggiation altogether and make them into block chords distributed across an instrument group. As for the key signature, I'm reliably informed it's nothing to worry about. Not having the option to use open strings is not really a problem, since the string section are trained not to use them anyway, unless specifically indicated in the score. (That's because they're too resonant, and tend to stand out like a sore thumb against the other notes.) Apparently E flat minor is no problem at all for the harp, and does not place any extra strain on the instrument. Also for transposing instruments, they will be looking at a key signature with fewer accidentals: so it doesn't cause them any issues either. I think the idea that this key is a problem is something of a myth. (N.B. The tutor who told me this, has worked with the London Symphony Orchestra: so he definitely knows what he's talking about!)

My composition tutor has advised me that Eb minor is not a problem for professional or semi-professional orchestras. So I don't think you need to worry about the key.

Brilliant orchestration Luis! I especially like the combination of brass with harp glissandi on the final chord. (Might steal that idea myself!) I don't remember seeing all four horns combined onto one staff before. Is that common practice?

Many thanks for those tips Mark. I will move the oboe part in Bar 6 to the clarinet. In Bar 16 I've already eliminated the oboe and replaced with flute (see amended version directly above your post). Alex.

Here it is with transcription errors corrected. Perhaps I should move the Trumpet 1 part into the Oboe to solve the range problem? Or I could shift that passage down an octave, and leave it in the trumpets? Debussy - Les soirs illuminés par l'ardeur du charbon #22 (midi).mp3 Debussy - Les soirs illuminés par l'ardeur du charbon #24 (score).pdf

I did find this webpage on F trumpets: Robb Stewart Brass InstrumentsOrchestral F Trumpet History — Robb Stewart Brass Instrum...Apparently they were very popular in the 1800s; but it says they're basically extinct today!

Thanks Henry! It's actually by Debussy; not Fauré. (I think Luis mentioned Fauré because their music is of the same era, and has some common traits.) I'd probably have to use an F trumpet rather than a B flat trumpet or cornet? Not an expert in trumpets though! Alex

Many thanks Luis! My idea for the double-bass drone was to have an almost imperceptible note of menace in the background. That's why it's undoubled and pianissimo. It's supposed to represent the backdrop of World War I, since this piece was written in 1917. I think strings can apply the sordino device pretty quickly; but if not, they could always use flautando technique instead (as I have in the double-basses). Noticed this evening I've made an embarrassing transcription mistake at one point: so I will be correcting that later today! Thanks again for listening, Alex

I have yet another orchestration for you today. This was apparently Debussy's last work, which makes it all the more poignant for me to orchestrate. It contains some surprising and fascinating harmonic progressions, pointing the way towards those composers who came after him. I've tried to maintain the furtive and playful nature of the piece, and kept the orchestration as light as possible. I think I've probably gone a bit too high for the trumpet? Might be a bit squeaky and unpleasant up there? Colin Matthews has orchestrated this one, and I listened to his version about a week before crafting mine. Tried not to let it influence me at all, and I haven't looked at his score. Anyhow, looking forward to your thoughts... (N.B. An updated/amended version is posted lower down the thread.) Debussy - Les soirs illuminés par l'ardeur du charbon #19 (midi).mp3 Debussy - Les soirs illuminés par l'ardeur du charbon #21 (score).pdf

Now we have two Eb minor pieces right next to each other! Congratulations on your arrangement. Especially enjoyed your use of muted horns, and viola solos. Seem to remember using the harp even more sparingly in my version.

Thanks Henry. I think it would have to be shared between flutes anyway, otherwise they wouldn't be be able to breathe! I just hadn't got round to marking in the instrument changes yet. I could indeed split the arpeggios across more than just violins and harp, as Luis has done. Will give that a try at some point. It just takes a bit longer to notate.

I changed the recapitulation today. The arpeggios are now mostly in the violins, with only the root notes in the harp. I also elaborated the flute part: so it's now playing almost continuous alternate arpeggios on top. I wonder if this flute part is a step too far? It may be distracting from the main melody? Anyway the new material starts around 4'20", and I also made several other tweaks throughout the piece. (Please ignore the messy slurs: these are only temporary.) Rachmaninoff - Elegie in E♭ minor (orchestration) #30 (midi).mp3 Rachmaninoff - Elegie in E♭ minor (orchestration) #30 (midi).pdf

Great job Luis! By sustaining notes and using mixed articulations, you've managed to disguise the changes in timbre so they're not jarring. Also creating a richer sound in the process. I will definitely experiment with something similar.

Thanks Tristan, I'm glad you like the balance between strings and winds, as this is something I've been striving for in my orchestrations! Alex

Hi Luis. Yes I did consider transposing to E minor; but then I remembered what my old piano teacher used to say. He told me: "there's no such thing as a hard key; you just have to think yourself into it". May be this applies more to pianists than musicians at large, I don't know? I did also think about splitting the arpeggios between instruments, and tried this in an earlier draft. Problem is, the arpeggios have a very wide span: so I had to use three different woodwind instruments to cover all the notes. This sounded bad, because they all had different timbres. Also considered using marimba; but again it can't cover the whole span. Maybe I could get away with it in the strings. Perhaps using pizz.; or a mixture of pizz. and arco? Will give it a try. The other option would be to change the arpeggios. I've done this a little bit in the flute part during the recapitulation, where I've added notes that don't exist in the original. Could probably take this further: so that's another thing I'll try. Many thanks for listening and commenting, Alex