Lorenzo Salvagni

I was not aware of this. I don't know many trombonists, but the friend who performed Ottatonico encouraged me to change clef rather then using too many ledger lines. I have to say that I don't like when notes wander too far from the staff... not a pretty sight. I am not a fan of multi-clef writing, but I think one should be able to read at least the standard SATB. Cheers

Actually what I meant is that at the moment I only need one oboe for this piece. One player for one part. cheers

Hi, thanks for the observation. The instrumentation is a hybrid between classical and romantic, so the choice of 2 horns was intentional; regarding the single oboe, originally I wanted to write a second part for the english horn but this proved unnecessary - I guess the 2nd oboe will go for a smoke during this movement :) Or, I might redistribute the voicing among all the woodwinds. I should have specified the instrumentation more clearly at the beginning of the score, thank you for bringing this issue to my attention. I will try to come up with a cleaner score as soon as I can.

Good job. I can tell you are an organist, and that's a compliment :) I love the way the piece builds up and the way the strings 'catch up' with the clarinet in the tumultuous section at around 3:00. I only listened to this on your site, the midfile with the organs it's really really hard to listen to - have you considered getting a better sound library, Garritan or something like it? Keep up the good work!

Thank you for posting, this is indeed a remarkable work. I like the opening, the way it develops, the free-style mid-section and the stormy return of the opening material at the end. My only doubt is about the very last measures - maybe you could have expanded that section to have a more majestic finale, the piece deserves it! The last chord does not sound conclusive to my ears... Other than this little thing, I really enjoyed it!

Thanks Nicola. It looks like most of the comments agree on the fact that this piece needs something more to be complete. I will try to think of a possible 'third section' or a second movement. There are minor differences between the score and the recording because Massimo (the trombonist) suggested a few 'ossia' that I did not have time to indicate.

Hello and thanks for your comment. Where precisely would you change clef? Could you give me bar numbers? Thanks

Actually I am a pianist/organist. It's the first time I write for trombone: I dedicated this piece to Massimo La Rosa, a good friend and principal trombone in the Cleveland Orchestra. The fact that you were wondering if I was a trombonist is a big compliment! :) I am planning on writing a second movement as soon as I am done with another project. Thanks for the comments. Cheers

Rapsodia per pianoforte e orchestra I would like to share this work with the forum and ask for comments and suggestions. It is my first piece to be scored for such a large ensemble. I decided to post it because I feel like I am at a point where I need advice regarding orchestration and overall structure. I consider this rapsodia as a work in progress and will probably add more sections and maybe some percussions other than timpani. Having said this, I hope you enjoy it! disclaimer: I know that the key of F sharp major is not a good choice for most instruments and I will transpose it to G major or F major if the opportunity of a live performance presents itself; until then, I like F sharp a lot! :) rapsodia per piano e orchestra.pdf

Thank you for your comments. I do have to work on the score - I am getting better at using finale but it's a slow process :) I too was wondering about the ending of the piece. Your observation confirms this and I thank you for sharing. The thing is, I am not quite sure if I want to add another section to the piece, in which case the slow transition would be fine, or just sort of 'fade out' on the reprise of the beginning. Any suggestions are welcome... Thanks again

Thanks. In fact I have to complete the piano part - when I play I tend to improvise certain passages until I like one version enough to write it down. Not a very scientific method, but it works fine for me :) Thanks for the comment. French impressionism and Jazz are admittedly my most important sources of inspiration.

OttatonicoOttatonico score.pdf

After Vocalise, another piece for violin and piano. I am not very good with titles, so I simply call it Sonatina. Comments always welcome! sonatina score.pdf

Not really - In fact, I should change that. When the writing gets pretty dense I sometimes put crescendos and dim. above the staff... Thanks for pointing it out.

Very nice. Mozart with a modern twist... Personally I would try to add a little more variety, maybe extending those sections where you have interesting changes in rhythm and use unexpected harmonies. The descending arpeggio on the major triad going back and forth between the soloist and the orchestra appears a couple of times too many for my taste. I really like the orchestration, perfect for this style. Cheers