Alex Weidmann

I was mainly asking, because you sometimes combine sfz or sffz with a vertical accent (e.g. Bar 119).

Hi Danish, Really like your orchestration here. Interesting choice in Bar 85, where your piccolo is pitched below the flutes. I think in Bar 9, where you have two harp harmonics played together, you technically should have two harmonic circle symbols on top of each other above the staff. I wonder how you define the difference between vertical and horizontal accents? (The conductor I work with, advised me not to use the vertical ones, as he thought their meaning was ambiguous.) Also, how do sfz and sffz differ from an accent?

Hi Luis, You've achieved some lovely rich orchestral textures here. Think you did a great job with your orchestration! Are the originals considered to be from Schönberg’s early or late style?

Had a go at implementing some of these ideas below. Not sure about the pizz. in the celli and basses. It's an interesting effect; just maybe feels too aggressive for the material? Decided to keep the trombones and tuba for now, because I'd prefer to use the full brass section. (The score attached is for midi rendition only: so hasn't been tidied.) Menuet in C sharp minor (Ravel orchestration) #20 (midi).mp3 Menuet in C sharp minor (Ravel orchestration) #20 (midi).pdf

Thank you so much for your review. You've made some great suggestions! I can't remember why I chose to use piccolo; but think I just liked the timbral colour when mixed with the flute. I actually really like the glock: so am inclined to keep that. Also I prefer the basses arco at 11 and 13. Pizz. for the celli is definitely a good idea though, and will restore the recurring material at 21. Somehow that had slipped my notice. I orchestrated rather quickly: so probably should've taken a bit more time. Thanks again, Alex

I have used all these extended techniques in other works; but I'm not sure they'd be appropriate here? Is there anywhere in particular I might use them? I did consider using harp glissandi. Think they would work in this piece; but I'm not sure they'd be an improvement? More likely they would make the music worse rather than better.

About 3 years or so, on and off. Started with my own works; but in the last few months I began orchestrating lesser known pieces by famous composers.

Hi to all, This week I decided to revise and extend my orchestration of Ravel's piano menuet in C# minor. The original is very short, and I thought a longer orchestration would work better. Haven't put the slurs in yet, as it's still a work in progress. Hope you enjoy! (P.S. If anyone knows an orchestra who might like to perform this, do let me know! I have several other companion works that would go nicely with it.) Menuet in C sharp minor (Ravel orchestration) #18 (midi).mp3 Menuet in C sharp minor (Ravel orchestration) #18 (score) #5.pdf

Agreed. I will change those low woodwind harmonies when I have time. Many thanks for listening!

Thanks Peter. I've been told the harmonies in the bass clarinet with two bassoons sound rather heavy: so I'm going to modify those when I can get round to it. Will try Henry's suggestion of putting the melody in the violins too, for more timbral variety.

Three of my favourite composers! I didn't realise I was channeling Prokofiev!

Great opening! I love the idea of starting on the harp and bassoon. Also loved the moment when the music suddenly bursts into life at Bar 37. This has fantastic emotional impact! Percussion is used sparingly and to great effect, and I found the melody line in the first movement quite moving. The second movement has a strong rhythmic drive, and makes a good contrast, with little echoes of the first movement in the flute towards the end. The third movement has a mysterious opening, and I really like the demisemiquaver gestures in the solo violin. The fourth movement has some great climaxes, underscored by percussion. When the solo violin melody comes in, it sounds quite Oriental due to the pentatonic structure. This then gives way to something that reminds me of Mussorgsky's "Pictures At An Art Exhibition". Definitely my kind of piece!

Many thanks for the kind words! It was made with the free grand piano that comes with MuseScore.

No, it was MuseScore's built in theorbo, in their MS Basic sound font.

Hi Wieland, Many thanks for taking a look at my piece. I'm a total beginner at writing for theorbo, but I notice you've correctly notated your score an octave above the sounding pitch; whereas I've written mine at sounding pitch! So will have to correct that in my next draft. It's uncommon to use a grand staff, as theorbo players prefer a single staff (usually in 8vb bass clef). Looks like for your composition, the musician would have to do some extensive retuning of the unfretted strings, and there may not be enough of them! That's why I decided to rewrite my piece without any accidentals on the lower 8 strings. The tab notation for theorbo uses fret numbers for the 6 fretted strings, and these are written on a 6-line staff. (Each line corresponds to a string, and the top two strings are tuned an octave lower than you'd expect on a classical guitar: so you have re-entrant tuning.) For the unfretted strings, you typically write the number of the string below the staff. So where it says 14, that would be string 14, etc... Forgot to mention, my piece is for a workshop and concert later this year. So a real theorbo player will be helping me revise it (which should be interesting!) Alex