Symphony in C# Minor

hi. it would be great if you could review it:

https://musescore.com/user/33167554/scores/6820409

thanks,

me

This is just my opinion / reaction, so it counts for no more than that.

Firstly, the plus. You've put together a 4 minute + movement that coheres so well done for that.

However, I feel you need to get a lot more adventurous if you want to hold people's interest. The opening was pretty good but then the dirge-styled drone starting at bar 13 started to weigh heavy by the time it stopped in bar 31. Frankly it got boring. Elaborating it with the harp arpeggii didn't help. When you return to the opening theme in bar 32 here's the chance for development, not still stuck in C# minor.

It cries out for development, key changing, whatever. Admittedly you do something different in bar - the arpeggiated figures are still static (sounds like a variation of the main theme) but at last has fleeting modulations though still based around C# minor.

I couldn't understand the use of the down-bow sign used normally for strings on the brass and woodwind parts. What's that about? Is it meant to be marcato, in which case the usual sign is a little upside down v, like an accent rotated 90 degrees?

Just a passing comment about the horns in bar 36. I notice you give the higher part to 2 & 4 - unconventional, but this may be your intention. Filling in the bass line with the tuba is clever. The timbre of the tuba is closer to the horns than trumpets and trombones. 

Something needs to be done about the ending. Those arpeggii go on after the theme they support ends then the piece just ends on a chord. Must admit I was hoping for a full tutti. 

Anyway, lets see what others have to say.

Thank you @Quinn for taking the time to review it. 

On 6/14/2021 at 8:59 PM, Quinn said:

I couldn't understand the use of the down-bow sign used normally for strings on the brass and woodwind parts. What's that about? Is it meant to be marcato, in which case the usual sign is a little upside down v, like an accent rotated 90 degrees?

oh yeah that was an accident i'm gonna have to remove it.

On 6/14/2021 at 8:59 PM, Quinn said:

Something needs to be done about the ending. Those arpeggii go on after the theme they support ends then the piece just ends on a chord. Must admit I was hoping for a full tutti. 

I completely agree this, but i ran out of ideas and just made a rash ending. How could i make the ending more interesting?

Again, thank you

You may want to revisit your orchestration manual of choice (re: measures 9-11!). That isn't gonna sound like you think it will, shall we say.

You have a series of ideas and little development.   I would recommend composing for smaller ensembles before moving on to larger works.  Some of the orchestration in the brass (trombones) overwhelms the listening - 

Personally, I would not use the word Symphony to describe the composition. "1. (Classical Music) an extended large-scale orchestral composition, usually with several movements, at least one of which is in sonata form. The classical form of the symphony was fixed by Haydn and Mozart, but the innovations of subsequent composers have freed it entirely from classical constraints. It continues to be a vehicle for serious, large-scale orchestral music" - the Free Dictionary. 

sonata form

• n.
  A form of a movement consisting of three sections, the exposition, development, and recapitulation, often followed by a coda.
• n.
  A form of classical music consisting of a single movement divided into three main sections, namely - the exposition (in the tonic and then another key), development (modulating in different keys) and recapitulation (returning to the tonic), sometimes followed by a coda
• n.
  a musical form having 3 sections -- exposition and development and recapitulation; characteristic of 1st movement of a sonata or symphony

On 7/4/2021 at 7:28 AM, MJFOBOE said:

You have a series of ideas and little development.   I would recommend composing for smaller ensembles before moving on to larger works.  Some of the orchestration in the brass (trombones) overwhelms the listening - 

Personally, I would not use the word Symphony to describe the composition. "1. (Classical Music) an extended large-scale orchestral composition, usually with several movements, at least one of which is in sonata form. The classical form of the symphony was fixed by Haydn and Mozart, but the innovations of subsequent composers have freed it entirely from classical constraints. It continues to be a vehicle for serious, large-scale orchestral music" - the Free Dictionary. 

sonata form

• n.
  A form of a movement consisting of three sections, the exposition, development, and recapitulation, often followed by a coda.
• n.
  A form of classical music consisting of a single movement divided into three main sections, namely - the exposition (in the tonic and then another key), development (modulating in different keys) and recapitulation (returning to the tonic), sometimes followed by a coda
• n.
  a musical form having 3 sections -- exposition and development and recapitulation; characteristic of 1st movement of a sonata or symphony

 

did you read the bit that says Work In Progress?

also, ik what Sonata Form is.

You have to make an honest assessment about where you are in your musical development.

One doesn't expect a first-year Spanish student to write a novel in the language, but to start out with simple exercises based on proper grammar.

I agree somewhat with MJFOBE, although I would not attempt anything in sonata form. Harmonized melody in basic song form, AABA, is a good exercise.

Side note: The arpeggiated dhords are very Philip Glass. Was that intentional?

Cheers
Jer

On 7/11/2021 at 4:45 AM, Jerry Engelbach said:

The arpeggiated dhords are very Philip Glass. Was that intentional?

never heard of him.

thanks for reviewing and sorry for a late response.

philipglass.com

Oh I click into the link and cannot find the link!

On 7/8/2021 at 9:31 AM, malumCompositor said:

also, ik what Sonata Form is.

In brief, a sonata form is a ternary structure in double rotations. There are three main bodies of it: Exposition, Development and Recapitulation. In the exposition, there are two major areas: First subject and second subject. In the first subject you present a theme or series of theme in tonic major/minor. After this there may be a transition/bridge to the second subject. In the second subject there's also theme(s), usually in dominant major (for major key work) or relative major (for minor key work) for a classical style sonata movement. After the cadence in the 2nd subject, the exposition ends and we get into the development.

In the development you can undergo different treatments of the themes you presented in the exposition, or introduce new themes to create drama and climax, After this we go to the recapitulation, where usually we present the same themes in the exposition. The first subject remains the same, while the themes in the second subject will be presented in the tonic key. After this you may add a coda or just end it.

I find this graph quite concise in describing the basic sonata form:

Sonata form is basically a form of drama like the traditional three part one: Presentation, conflict and resolution. Any book concerning musical forms and structures will cover a lot on it since it's one of the most important form in the common practice period. For music you can start with Haydn, Mozart or early Beethoven's piano sonatas first to get used to the form. For a detailed analysis of the form, I find the book by Hepokoski and Darcy, Elements of Sonata Theory really helpful, though I suggest to read later after having a basic understanding of the form:

https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.amazon.com%2FElements-Sonata-Theory-Deformations-Late-Eighteenth-Century%2Fdp%2F0199773912&psig=AOvVaw15JNOiwzJPydWQ_xtsQ-Md&ust=1673936248616000&source=images&cd=vfe&ved=0CBEQjhxqFwoTCOi0xs24y_wCFQAAAAAdAAAAABAE

Hope this can help!

Henry