Melodie for orchestra

One of my first symphonic/orchestral compositions. Please don't be shy and give an honest feedback. Constructive criticisms are very warmly welcome. Also can anyone suggest me some theoretical topics to master for orchestral/large ensemble writing?

Very nice music. It flows and has many colors and textures.

the brass section is missed, it would bring some shiny parts.

the long slurs make no sense in the strings, I prefer writing legato….

in the first part the harp could be notated better.

4 minutes ago, Luis Hernández said:

Very nice music. It flows and has many colors and textures.

the brass section is missed, it would bring some shiny parts.

the long slurs make no sense in the strings, I prefer writing legato….

in the first part the harp could be notated better.

 

Thank you for listening and giving a valuable feedback. Could you tell me more about the problem you faced with the notation of the harp? Any tips in how I could improve it?

This is what I mean. The harp is difficult (writing for). I'm still learning. It's not a piano at all. Harpist only use 4 fingers, so unless the passage is slow, you have to distribute the notes between both hands. If this is very quick perhaps you can change it for glissandi.

2 hours ago, Luis Hernández said:

This is what I mean. The harp is difficult (writing for). I'm still learning. It's not a piano at all. Harpist only use 4 fingers, so unless the passage is slow, you have to distribute the notes between both hands. If this is very quick perhaps you can change it for glissandi.

 

 

 

Okay! Understood. Thanks for taking the time to reply 🙂

Nice piece. Reminds me of some of the fantasy mmo's I used to play.

I definitely agree with Luis's point on the slurs. Generally, for string, wind, and brass instruments, a slur means a specific thing. For winds and brass, when notes are slurred, they play them in one breath, and for strings, one bowing. Of course, the slurs here are so long that they'd know you meant legato, but just something to keep in mind.

Another thing I noticed was that the last section, starting at measure 76, has a forte timpani and bass drum with all the other instruments at mezzo forte. Timpani and bass drum together are quite loud, and with the dynamics you've given, they'd certainly overpower everything else. I'd suggest a lowering the percussion dynamics there.

Finally, and this has to do with the score and not the music itself, but I'm seeing a few spots where there is an empty measure with random rests like these:

I think you understand what's wrong with these.

Very nice and sweet sound! Nice waltz in the middle section!

I would love to add the penetrating sound of oboe as well, especially in the middle section and b.67!

I would mark the B flat in b.42 and 43 in A sharp though for an augmented sixth chord.

Just wanna ask: Will the slur from b.46-69 too long for the string players, or will be ok? I agree with Luis and Composaboi on that point.

Would a Clarinet in A better than the one in B flat to prevent that six sharp key signature in the middle E major section?

Very nice work especially it's your first one! Congrats on that! I hope I can write like this in my first one though!

Henry

7 hours ago, ComposaBoi said:

Nice piece. Reminds me of some of the fantasy mmo's I used to play.

I definitely agree with Luis's point on the slurs. Generally, for string, wind, and brass instruments, a slur means a specific thing. For winds and brass, when notes are slurred, they play them in one breath, and for strings, one bowing. Of course, the slurs here are so long that they'd know you meant legato, but just something to keep in mind.

Another thing I noticed was that the last section, starting at measure 76, has a forte timpani and bass drum with all the other instruments at mezzo forte. Timpani and bass drum together are quite loud, and with the dynamics you've given, they'd certainly overpower everything else. I'd suggest a lowering the percussion dynamics there.

Finally, and this has to do with the score and not the music itself, but I'm seeing a few spots where there is an empty measure with random rests like these:

I think you understand what's wrong with these.

 

Thank you for clarifying so many things to me! I really appreciate the feedback 🙂

6 hours ago, Henry Ng Tsz Kiu said:

Very nice and sweet sound! Nice waltz in the middle section!

I would love to add the penetrating sound of oboe as well, especially in the middle section and b.67!

I would mark the B flat in b.42 and 43 in A sharp though for an augmented sixth chord.

Just wanna ask: Will the slur from b.46-69 too long for the string players, or will be ok? I agree with Luis and Composaboi on that point.

Would a Clarinet in A better than the one in B flat to prevent that six sharp key signature in the middle E major section?

Very nice work especially it's your first one! Congrats on that! I hope I can write like this in my first one though!

Henry

 

Yes you're right. The german sixth chord used would have a sharp 4th there. I really appreciate your valuable feedback regarding this and will correct these in the future. Thank you for listening 🙂

Very nice!  I hope that the melody in the beginning will be played by 2 Clarinets soli because there's very scarce room to breathe and if they were both playing they could each take breaths at different places (much like the voices too).  Are the cellos being doubled by contrabasses in this?  In the classical era composers would write only one part in bass clef that was meant to be doubled by both cellos and contrabasses.  I think if it's not being doubled, a contrabass part would certainly add some body to your orchestration!  I like how you vary the reprise of the introductory material by thickening the texture and adding nice contrapuntal lines in the basses.  The contrasting section, while related to the original melody is different enough to inspire interest.  The B section also has almost a sort of Christmas Carol type of character to it!  The C section, being more melancholy and quiet gives the listener a break from the more joyful B section.  Actually now that I hear the A theme again it sounds like a Christmas Carol too!  Thanks for sharing!

If you want some great orchestration tips and tricks check out this channel:  https://www.youtube.com/@thesecretsoforchestration.  There are many concepts/terms in this study of orchestration which I haven't heard used anywhere else, such as the "device" which is the combination of instruments playing the melody, while the "texture" is the combination of instruments playing the accompaniment either underlaying, interlaying or overlaying the material in relation to the melody.  Check it out!

8 hours ago, PeterthePapercomPoser said:

Very nice!  I hope that the melody in the beginning will be played by 2 Clarinets soli because there's very scarce room to breathe and if they were both playing they could each take breaths at different places (much like the voices too).  Are the cellos being doubled by contrabasses in this?  In the classical era composers would write only one part in bass clef that was meant to be doubled by both cellos and contrabasses.  I think if it's not being doubled, a contrabass part would certainly add some body to your orchestration!  I like how you vary the reprise of the introductory material by thickening the texture and adding nice contrapuntal lines in the basses.  The contrasting section, while related to the original melody is different enough to inspire interest.  The B section also has almost a sort of Christmas Carol type of character to it!  The C section, being more melancholy and quiet gives the listener a break from the more joyful B section.  Actually now that I hear the A theme again it sounds like a Christmas Carol too!  Thanks for sharing!

If you want some great orchestration tips and tricks check out this channel:  https://www.youtube.com/@thesecretsoforchestration.  There are many concepts/terms in this study of orchestration which I haven't heard used anywhere else, such as the "device" which is the combination of instruments playing the melody, while the "texture" is the combination of instruments playing the accompaniment either underlaying, interlaying or overlaying the material in relation to the melody.  Check it out!

 

What a valuable feedback you gave! You have my immense gratitude for taking the time to help me out 🙂 Thanks for listening

Nice tune and nice development. Two comments based on one listen: IMO the percussion is heavy and detracts from the overall lyrical style of the piece. I'd like to hear it with the percussion totally silenced; I have a feeling I'd like it more. Also, what's your intent for the clarinets and bassoons at bar 40? The tremolo notation generally means fluttertonguing on winds, which usually results in loss of tone quality and sometimes intonation.

3 hours ago, Tom Statler said:

Nice tune and nice development. Two comments based on one listen: IMO the percussion is heavy and detracts from the overall lyrical style of the piece. I'd like to hear it with the percussion totally silenced; I have a feeling I'd like it more. Also, what's your intent for the clarinets and bassoons at bar 40? The tremolo notation generally means fluttertonguing on winds, which usually results in loss of tone quality and sometimes intonation.

I really appreciate your feedback. At bars around 40, it is supposed to be played like a major 3rd trill. I used that notation because harp biglissandi is notated that way. So I thought the same intent would be applied if I notated those bars like that

28 minutes ago, ComposedBySam said:

I really appreciate your feedback. At bars around 40, it is supposed to be played like a major 3rd trill. I used that notation because harp biglissandi is notated that way. So I thought the same intent would be applied if I notated those bars like that

 

Oh, I get it. What you want is something like this:

13 hours ago, Tom Statler said:

Oh, I get it. What you want is something like this:

 

I see! Thanks so much for taking the time to show me. I actually knew this notation but I couldn't figure out a single way of notating it like this in musescore