Foxtrotfan

Hmm...jumping right in, suprisingly pitch-centric at times despite its atonal nature [neither a good nor bad thing, of course]. Palindrome rhythms come across clearly. Early music influence at time is very apparent, whether or not you intended that. Reminds me vaguely of the Shostakovich String Trio that begins with only cello harmonics. Was there a clear overall structure you were following (not form), or a particular process that determined how often you repeated the ostinati etc.? Where did you derive your pitch materials? Just curious as to your process here. Secondly, I think for the betterment of your orchestration in pieces like these, and perhaps to avoid some color-fatigue, you might take a look into Penderecki's first and second string quartets. It might give you some ideas in that area, along with rhythm even, though your rhythmic approach probably wouldn't parallel it at all (Penderecki, in my opinion, has a very good intuition with rhythm and silence, and pretty much everything really..) Interesting piece overall. I agree that a more subtle recording (along with a little more reverb, maybe in a hall or whatnot) would greatly improve the overall effect. But hey, that's not your fault now is it? *sigh, mutterances about recording qualities in general* Nice Job. Thanks for the advice along time ago btw when I was applying to Obie, I'm a student now...haha, so I guess I'll hear much more of you.

Maybe a massive tutti pizzicato chord? I'm not quite sure what I'd want from that, but definitely at least double or triple stops in the lower strings. Since its pizz, you could go crazy. I forget the name of the percussion instrument that you wind...shoot. Perhaps look it up (dangit...its in Shooting Stars by Frank Ticheli, the first movement of Symphony II, if anyone is a band nerd) and contemplate that? Just my thoughts.

Yes, someone share their thoughts on this! :) I've never really studied the woodwind quintet at all, and I would love some contemporary examples to look at, if anyone has suggestions. As for your piece, I listened and it reminds me a lot of Gaspard de la Nuit by Maurice Ravel, particularly Ondine. Very strong resemblence stylistically. I like the effect though, and I'd like to see what you do with this. If I actually had more experiance in the WWQ I'd offer suggestions, but all I have is 2-3ish minutes of one movement, so I'd not be the best person to make comments.

I've only listened to the first movement and a portion of the second, which is playing now, but I figured I might as well share my opinions. While I am not a large fan of classical music in comparison to contemporary, I must say that this is most definitely quality work and I am more than happy that you shared it with us. I almost at times wished for a little more polyphony, but I recognize that's not exactly what you were desiring to veer towards, and I respect that. The phrase closest to measure 120 was my particular favorite moment, it was crafted quite well. The Adagio, which recently finished, was very smooth as well. Kudos. My only wishes, as i've said, would be a slight bit more polyphony and extended harmony, but that's not in the direction you went in at all, and I respect that. If I could write melodies quite like that, though, I'd be very happy with myself!

Just a tip, if you'd like to examine the Contemporary Sonata form, I remember a few sonatas in particular that are interesting to examine. ---Britten's Cello Sonata, I forget if he wrote multiples, but the movement in particular I am thinking of is "Dialogo" which I remember Dr. Ticheli had us analyze for sonata form ---John Corigliano's Violin Sonata. I've only heard it live, once, and never seen the music, but from what I could note in my head, there is most definitely a fairly clear sonata form for the most part, and it'd be interesting to examine. ---Paul Creston's Saxophone Sonata. I think this one would be interesting because I know, having played it, that the sonata avoids a key. Creston tends to constantly modulate among several modes and keys in a way that you really can't put your finger on. So because of that, it might be interesting to see how he handles Sonata form. Its a great piece too. It's also neat to examine, of course, the Tempest Sonata by Beethoven as an entrance into Romantic style sonatas. A lot of neat things in there, as I had to analyze that one too. I'm still a little of a sonata newbie though, in analysis. :) I know you didn't mention Contemporary, but it's something of interest for most composers, since that is the era we are living in and usually wind up being most influenced by. Good luck, I'd love to hear your suggestions for other sonatas from any era that are interesting to study.

Well looking at it, I would say the articulation idea might be alright, though. I do not think the flutists will be covered up in that texture. However, your second flute probably will, due to the range. At least, I prefer to stick to the good ol "be careful lower than A4" rule that I've engrained in myself. :) But really I'm just worried about your D4s in the flute. They'll wind up being very breathey, and probably detract a little from what they could be; that and the range would be difficult to have great control of dynamics, since the lower range is so quiet. My solution would just be to rework the second flute part there a little, add articulations and perhaps emphasize every three as well to give a more pulsing feel to it, and then finally contemplate having different independent dynamic markings for the voices in that texture. Really though, I had a piece read recently that had an oboe solo and two flutes as background like that, in slightly higher range (the lowest note was an A4 I believe) and it worked well, even though the ranges were intertwined. So I have no doubt your piece will work out too! :D And don't add the oboes--it would stand out in that thin a texture.

I know this doesn't add too much, because the basics are all here, but from my experiance, unless you are using thin orchestration to highlight the harp, a harp's parts will primarily focus on the attack of the note--particularly in the treble. The bass notes will reverberate, and the harpist can silence them by putting his/her hands on the strings at the end of the note value. However, the higher the pitch, the shorter the string and thereby the shorter the audible ringing will work. The attacks of the notes is really what comes across to the listener most in a louder moment. I had a piece read recently with an accompaniment-like harp part during a fair volume level moment with several instruments...the attacks come across, but its not much more than a nuance. Now to get some more info from the bible...i mean Berlioz... :D Keep your lower harp parts open, especially below G2, though I'd contemplate stopping at C3. Low range chords on harp are very muddy. Berlioz brings up another interesting point I had forgotten: (harp is not my favorite instrument to write for) Keep the hands at least a sixth, preferably an octave apart. Arpeggios in thirds will therefore, due to the overlap, have no sonority due to the rearticulation of the strings. Fairly fast octaves should be written for two hands, rather than one, solely because the thumb can't be expected to move as fast as the other fingers in succession. If you would like a note to be re-articulated quickly, use the pedals to your advantage to allow vibration. So rather than just a B flat marked for thumb and index finger, use A sharp and B flat. Or, if you would like a repeated chord, use two harp parts and have them switch voices every other note. Berlioz offers a lot of information. If you are really intrested in the harp, drop me an IM sometime or a message, and I'll try to scan some pages for you. It's worth the read! :mellow: