Adagio for Orchestra

Thanks for noting the thematic development, that's something I'm trying to work on alot. I'm glad you like the sax and euphonium as well.

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Dear @gmm,

What a display this is for your prowess of motivic development and orchestral colour! I utterly enjoy this one!

On 3/21/2021 at 12:41 PM, gmm said:

I had a few goals in mind as I composed this, feel free to chime in on how well I accomplished them:

• Focus on simple, memorable themes.
• Experiment with orchestration, using auxiliary instruments to create some unique textures.
• Integrate Euphonium and Saxophone with the rest of the orchestra.
• Write something that would work as a middle movement of a larger work, such as a symphony.

They are really memorable themes, and you use the orchestral colour with variety. There's no need to point out specific bars since it appears all over the movement. I think the Euphonium and Saxophone sounds really well here, though I am not familiar with these two instruments. I am actually afraid with how beautiful this movement is, will this utter beauty affect the overall symphony, especially as the middle movement? Though I am afraid it will be too magnificent for a middle movement if you want to put the emphasis on the first and last movements, I don't know your planning of the whole work so it's absolutely magnificent.

On 3/21/2021 at 12:41 PM, gmm said:

What effect does the music have on you? Does in conjure up an image? Or an emotional feeling? Does it tell you a story? This can be the piece as a whole, or a specific part or parts.

I think of the great desert of the Lawrence of Arabia with how grand this piece create that epic feeling.

On 3/21/2021 at 12:41 PM, gmm said:

What was your favorite part? What was your least favorite part?

Whole movement is my favourite part.

On 3/21/2021 at 12:41 PM, gmm said:

Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.?

I try my best to find one, but it's difficult. To be nitpicky I only find that when the figure C acts as accompaniment, the rest between the turns seems hollow for me and personally I want that turn figure to be imitated in other instruments to fill in the gap. But of course that's very personal!

On 3/21/2021 at 12:41 PM, gmm said:

How do you feel about the overall form? Is it effective?

I think it's effective! The themes are very noticeable and you add colours to it every time the theme returns.

On 3/21/2021 at 12:41 PM, gmm said:

How do you feel about the harmony in the B theme recap (the nondiatonic chords against the melody in the clarinet)? Is it effective?

Actually I love that since it gives contrast to the overall modal or pentatonic harmony. It definitely adds some spiky things to it. But what is your intention to add this to the otherwise modal work? I am just curious about this but I love that passage too!

On 3/26/2021 at 4:30 AM, gmm said:

Does the above make sense? This is a methodology I've been working on for a year or two now. The idea is to keep all of the ideas connected, while also giving a few techniques to generate new ideas, in order to avoid the "what comes next?" problem we all encounter.

That definitely makes sense since that's the method I use to compose too!! It makes the music coherent without too similar to each other, but once you analyze you will find, "Oh this theme or figure comes from that" and you start to be amazed by the craftmanship of the composer!

I utterly enjoy this one and will definitely explore more of your works here!

Btw your youtube channel has few videos in it. You can post more on there too!!

Henry

On 2/2/2023 at 10:31 PM, Henry Ng Tsz Kiu said:

What a display this is for your prowess of motivic development and orchestral colour! I utterly enjoy this one!

Hey thanks man, I'm glad you like it! I appreciate you taking the time to listen and give a thorough response.

On 2/2/2023 at 10:31 PM, Henry Ng Tsz Kiu said:

I am actually afraid with how beautiful this movement is, will this utter beauty affect the overall symphony, especially as the middle movement? Though I am afraid it will be too magnificent for a middle movement if you want to put the emphasis on the first and last movements, I don't know your planning of the whole work so it's absolutely magnificent.

So my original intention with this piece was not to actually write surrounding movements to make it into a symphony. Rather, it was merely to practice writing what could be the middle movement of a symphony. Unlike a lot of composers, I have always written pieces from start to finish, instead of writing individual parts and piecing them together. So the idea was to practice writing a middle/inner movement, so that when I do write a symphony I will have some experience doing so once I reach the middle movements.

Plus I had just finished writing some larger works, and needed something a little smaller in scope to take a break 😅

I will say, since I wrote this, I have put this piece together with some of my other pieces I have posted here to form what I call a "Symphonic Suite". It doesn't feel fitting to call it a Symphony since each piece was conceptualized independently of each other, but I think they do work well together. I have listed them below if you are interested:

1. Sinfonietta No. 1 (originally posted as "New Piece for Orchestra", I intend to make a few adjustments this piece, like cutting out the repeat, and changing the ending, then I'll put on my YouTube channel)
2. Scherzo (already on YouTube)
3. Adagio (this piece, also on YouTube)
4. Sinfonietta No. 2 (I recently cleaned the score up a bit, and will be posting it to my YouTube channel soon. But the audio is the same as the original)

Alright, shameless plug over 🤣

On 2/2/2023 at 10:31 PM, Henry Ng Tsz Kiu said:

I think the Euphonium and Saxophone sounds really well here, though I am not familiar with these two instruments.

What has worked best for me is to treat the Euphonium as a "Tenor Tuba". In tutti sections it works well doubling the Tuba, either at the octave or unison. It can also add depth to the trombones or horns when they have the melody.

For the Saxophones I think of them as like the Violas of the woodwinds. They add weight and depth to the alto register of the woodwinds. They also blend surprisingly well with every instrument in the woodwinds as well as the strings. 

On 2/2/2023 at 10:31 PM, Henry Ng Tsz Kiu said:

I think of the great desert of the Lawrence of Arabia with how grand this piece create that epic feeling.

Great! I think that's the first anyone told me it makes them think of a vast desert, but I can definitely see that now that you say it.

On 2/2/2023 at 10:31 PM, Henry Ng Tsz Kiu said:

Actually I love that since it gives contrast to the overall modal or pentatonic harmony. It definitely adds some spiky things to it. But what is your intention to add this to the otherwise modal work? I am just curious about this but I love that passage too!

It adds tension and variety. What makes it work is it is placed right before the calm consonant chord at m.111. The listener is introduced to this mysterious, ethereal sound that is quite different from anything else in the piece at m.105. The unusual sound is jarring, and builds up tension up until m.109. Then there's the moment of resolution when the stings enter on the nice Eb chord at m.111. Does that make sense?

On 2/2/2023 at 10:31 PM, Henry Ng Tsz Kiu said:

That definitely makes sense since that's the method I use to compose too!! It makes the music coherent without too similar to each other, but once you analyze you will find, "Oh this theme or figure comes from that" and you start to be amazed by the craftmanship of the composer!

Great! I'm glad there are others who think about music the same way.

On 2/2/2023 at 10:31 PM, Henry Ng Tsz Kiu said:

Btw your youtube channel has few videos in it. You can post more on there too!!

Thank you for noticing and checking out my channel! I plan on growing it and posting more on there this year.

Thanks again for listening, I'm glad you enjoyed it!

8 hours ago, gmm said:

It adds tension and variety. What makes it work is it is placed right before the calm consonant chord at m.111. The listener is introduced to this mysterious, ethereal sound that is quite different from anything else in the piece at m.105. The unusual sound is jarring, and builds up tension up until m.109. Then there's the moment of resolution when the stings enter on the nice Eb chord at m.111. Does that make sense?

That definitely makes sense. After a grand climax I expect the music to end in serenity but those jarring sound does create something like "You think this is the end? No I have more surprises for you", and this flavoring can keep enhance my expectation on a complete serene final passage which is successfully displayed here!

8 hours ago, gmm said:

What has worked best for me is to treat the Euphonium as a "Tenor Tuba". In tutti sections it works well doubling the Tuba, either at the octave or unison. It can also add depth to the trombones or horns when they have the melody.

For the Saxophones I think of them as like the Violas of the woodwinds. They add weight and depth to the alto register of the woodwinds. They also blend surprisingly well with every instrument in the woodwinds as well as the strings. 

Thank you for this! These kind of information is really valuable especially for me as a novice!!

8 hours ago, gmm said:

Unlike a lot of composers, I have always written pieces from start to finish, instead of writing individual parts and piecing them together. So the idea was to practice writing a middle/inner movement, so that when I do write a symphony I will have some experience doing so once I reach the middle movements.

That's my approach as well😁! I always feel like the order of the movements should be meaningful instead of bunching together by mere time and meaningless coherence, and by composing this way we can have a sense of organic development or Gestalt throughout the music. I do have some planning and inspirations on the later movements first which will sometimes determine how I compose for the first few movements to develop to that later passages, but I will always focus on the start first.

8 hours ago, gmm said:

I will say, since I wrote this, I have put this piece together with some of my other pieces I have posted here to form what I call a "Symphonic Suite". It doesn't feel fitting to call it a Symphony since each piece was conceptualized independently of each other, but I think they do work well together. I have listed them below if you are interested:

1. Sinfonietta No. 1 (originally posted as "New Piece for Orchestra", I intend to make a few adjustments this piece, like cutting out the repeat, and changing the ending, then I'll put on my YouTube channel)
2. Scherzo (already on YouTube)
3. Adagio (this piece, also on YouTube)
4. Sinfonietta No. 2 (I recently cleaned the score up a bit, and will be posting it to my YouTube channel soon. But the audio is the same as the original)

Alright, shameless plug over 🤣

It's very interesting to have a Symphony Suite. I will definitely take my time to listen to all of these and review (no, it should be fascinated by) them when I have time!! I think they will all be masterpieces for sure. Please plug more since you should and well deserve it!!!🤣 I think I will have to listen to all your pieces here! Thanks for your reply!

Henry

Was a treat to listen to again. I had forgotten how well written and impactful this piece was. 

It's a shame you don't post here more often. Perhaps you're just a busy guy 😄 

13 hours ago, Henry Ng Tsz Kiu said:

It's very interesting to have a Symphony Suite. I will definitely take my time to listen to all of these and review (no, it should be fascinated by) them when I have time!! I think they will all be masterpieces for sure. Please plug more since you should and well deserve it!!!🤣 I think I will have to listen to all your pieces here! Thanks for your reply!

Thanks man! I will leave some reviews on your works too, it might take me a while, I stay fairly busy these days, but I will get to it when I can.

10 hours ago, Thatguy v2.0 said:

Was a treat to listen to again. I had forgotten how well written and impactful this piece was. 

It's a shame you don't post here more often. Perhaps you're just a busy guy 😄 

 

Thanks dude, good to see you are still active here! 

I'm finishing up a rather large work, and have a couple others in the pipeline I plan to post soon, stay tuned...

Quite an amazing piece into which a lot of thought has gone and care in the rendering.... the hallmark of a composer with practical orchestral experience. 

Notable is your way of doubling, always seeming to be effective to create different timbres as much as for reinforcement (the opening bars are a great example), Clear layout of chords, sensitive attention to articulations and thematic development is beyond criticism (to me).

Excellent work. Exemplary.

Cheers.

6 hours ago, Quinn said:

Quite an amazing piece into which a lot of thought has gone and care in the rendering.... the hallmark of a composer with practical orchestral experience. 

Notable is your way of doubling, always seeming to be effective to create different timbres as much as for reinforcement (the opening bars are a great example), Clear layout of chords, sensitive attention to articulations and thematic development is beyond criticism (to me).

Excellent work. Exemplary.

Cheers.

 

Thank you so much! It means lot to hear such high praise from you.