Alex Weidmann

Hi, many thanks for the kind words, and thoughtful review. Frank Bridge is actually the composer. (Don't worry, I hadn't heard of him either until very recently!) This is my orchestration of his 3 movement piano work "The Hour Glass". (You can find the other 2 movements lower down in the Orchestral and Large Ensemble category.) Far as I know, it's never been orchestrated before. Frank was a British composer (1879-1941), who mentored the young Benjamin Britten. I think the main issue with the marimba part is whether you can actually physically get round the instrument to play those octave movements at this tempo. And also whether you can find an extra large marimba (and vibraphone) to cover the pitch range required. I'm thinking I'll probably rework those passages so they fall into a narrower range. I've heard those stories about orchestras not taking student works seriously; but what can you do?

Hi Luis, For me the most successful part of this orchestration is your highly effective brass writing, especially in Bars 19-22. Overall it reminds me of "5 Orchestral Pieces" Op.16 by Schoenberg. I like the piano version too: I find it atmospheric and relaxing. Surprisingly mellow compared to the orchestral version!

Hi Uhor, Your brass writing is very strong here, and the percussive hits work really well. My only slight criticism is that the melodic line sometimes feels a bit aimless, like it's meandering around without a clear direction. A good listen overall though.

Here is my revised score and rendition, incorporating Henry's brilliant idea! Also tweaked the sound balance: so the flute is no longer getting buried. Frank Bridge - Dusk #25 (added ZL compressor).mp3 Frank Bridge - Dusk #25 (added ZL compressor).pdf

I made multiple little tweaks and improvements today (at least I think they're improvements?) Frank Bridge - The Dew Fairy #31.pdf Frank Bridge - The Dew Fairy #33.mp3

Thanks Kyle, I'm so glad you enjoy the piece, as I don't think it's very well known. The tuplets are crazy; but I was just reflecting what was in the original score. Bridge writes them as reduced size notes, rather like Chopin's flourishes; but this was the only way I could think to translate them into midi. One thing I'd like to fix is the tenuto accents in the harp part, as they're too strong at the moment. Will have to see if I can tweak the properties. Anyway, many thanks for listening and commenting. Alex

Thanks! I actually hadn't heard of him until a fortnight ago, when You Tube recommended this piece to me. Perhaps it's time for a Bridge revival?

Hi to all. I've now completed my orchestration of all three movements of "The Hour Glass" (originally for piano solo). This second movement was the hardest of all to orchestrate: so any tips on how to make it better would be very welcome! I found it especially difficult to create suitable harmonies for a string bed to go underneath the intricate arpeggios in the harp. Not sure I've done it very well. Also, some of the chromaticism in the harp part may be unplayable, because of the pedals? Haven't got around to adding slurs and phrasing yet, and as usual, my dynamics are designed for midi only. (N.B. Updated versions will be posted lower down the thread.) Frank Bridge - The Dew Fairy #28.mp3 Frank Bridge - The Dew Fairy #28.pdf

That's quite some percussion section, wow! Are you perhaps using the Berlin Percussion library to get all those sounds? There's quite a few instruments I've never heard of before. Will have to look them up...

Some nice use of extended string techniques here. I've never seen sub-harmonic and chopped directions before. Wonder if you could explain what they mean, and how they're performed?

Hi Sam, The first problem I notice with this, is a technical one. It sounds like you have your master level set too high in the mixer, and it's causing a lot of peak level distortion. There's also quite a lot of octave doubling across the orchestra. This is notorious for causing distortion, because the instrument libraries are artificially adjusted to be perfectly in tune. So you get lots of frequency build up that you wouldn't have in a real orchestra. Some more expensive libraries allow random detuning, which helps circumvent this problem. Octave doubling is something forbidden in strict counterpoint, because it sounds weak. So it's probably best avoided where possible. (I'm being a bit of hypocrite here, because I've made exactly the same mistake in the latest piece I've posted!) Anyway, hope that helps a little. Alex

Hi, I'm back yet again, with the 3rd movement of Frank Bridge's "The Hour Glass". It's a crazy work for piano, and not at all easy to orchestrate. I think my filigree passages in the woodwind may be unrealistic in terms of coordination? Also, MuseScore is telling me the vibraphone and marimba parts are straying into "expert" territory, which I guess means you need extra large instruments with additional tone-bars? N.B. The score is an early draft designed for midi only: so will need a lot of adjustments for a real orchestra. Anyhow, hope you enjoy! Frank Bridge - The Midnight Tide #35.mp3 Frank Bridge - The Midnight Tide #37.pdf

Thanks, I had fun orchestrating it!

Thanks Henry! So glad you like it 😀 Will definitely try your suggestion: it's a great idea. The other two movements are going to be very challenging to orchestrate, especially the third. I've already started on it, and it's a real beast!

Thanks Peter! MuseScore was telling me the horn part was straying into "expert range": so it's good to know it's ok.