I. Praeludium, Suite for Orchestra

So, I'm sharing my current project here mainly out of a textural concern that occurs around the 2 minute mark. It's not that I don't like the texture or feel it lacks any compositional/orchestrational merit -I think it's quite strong to be honest.

My concern is that I'm not sure how to take this texture. The idea of the prelude to this suite for orchestra is to present a theme from each of the suite movements -which this does well. However, I'm concerned that the ending is a bit aurally new to the ears -even if we take minimalist standards. The setup occurs with a duet between the oboe and clarinet which lays the groundwork for a steady pulse by the winds, followed by a tightly spaced cluster chord in the winds that gradually rises in volume and chromatic intensity till the trumpets punctuate the texture with 4 notes in succession (echoed by horns an eighth note apart). This rises in volume until the full orchestra holds the final chord to its loudest. 

I love it -but what I'm afraid of is that the landscape is difficult. It took me a few days to start the 2nd movement. Is it too intense? Is the texture too new? Should I rewrite the prelude? 

EDIT: Forgot to mention this is scored for chamber orchestra (1.1.1.1,2 horns, 1 trumpet, Timpani, Strings) -the score isn't final yet!

POSTEDIT: Added the second movement for some clarity.

1 hour ago, jawoodruff said:

So, I'm sharing my current project here mainly out of a textural concern that occurs around the 2 minute mark. It's not that I don't like the texture or feel it lacks any compositional/orchestrational merit -I think it's quite strong to be honest.

I find it quite strong as well! 

1 hour ago, jawoodruff said:

The setup occurs with a duet between the oboe and clarinet which lays the groundwork for a steady pulse by the winds, followed by a tightly spaced cluster chord in the winds that gradually rises in volume and chromatic intensity till the trumpets punctuate the texture with 4 notes in succession (echoed by horns an eighth note apart). This rises in volume until the full orchestra holds the final chord to its loudest. 

Personally I think the clarinet in its chalumeau range is shaded by the oboe here, but it provides good background of sound. A great build up as well later on, both by means of volume and rising of notes.

1 hour ago, jawoodruff said:

However, I'm concerned that the ending is a bit aurally new to the ears -even if we take minimalist standards.

Where do you mean by the ending? If it's bar 82 I find it very convincing as a postlude or coda to the prelude.

Will the timpani be added in later drafts? I actually find adding the triangle a great choice here!

Henry

5 minutes ago, Henry Ng Tsz Kiu said:

I find it quite strong as well! 

Personally I think the clarinet in its chalumeau range is shaded by the oboe here, but it provides good background of sound. A great build up as well later on, both by means of volume and rising of notes.

Where do you mean by the ending? If it's bar 82 I find it very convincing as a postlude or coda to the prelude.

Will the timpani be added in later drafts? I actually find adding the triangle a great choice here!

Henry

 

MM 52-80 is the section I'm referring to. Yes, I will be adding timpani touches.  

About the chalumeau range, I wanted it to slightly be shaded until the full motif ascends upwards. 

Just now, jawoodruff said:

MM 52-80 is the section I'm referring to.

I myself don't find it weird or anything at all. Just great build up to a great climax. I think it's a good change of texture, and it's not something abrupt since you use the oboe and clarinets to introduce it first, then with added winds, then with first violin, viola and cello and finally the whole orchestra. And for me the prelude is not really long for its beginning (and its entirety), so any new introductory materials or themes or texture won't minimize its coherency. It's a prelude so I will expect there are a lot of happenings there!

Henry

Just now, Henry Ng Tsz Kiu said:

I myself don't find it weird or anything at all. Just great build up to a great climax. I think it's a good change of texture, and it's not something abrupt since you use the oboe and clarinets to introduce it first, then with added winds, then with first violin, viola and cello and finally the whole orchestra. And for me the prelude is not really long for its beginning (and its entirety), so any new introductory materials or themes or texture won't minimize its coherency. It's a prelude so I will expect there are a lot of happenings there!

Henry

 

That really helps. The movements of the suite aren't going to be that long (maybe no more than 5 mins for the longest one I have planned). But with 6 movements, the full work will be at least 20 mins or so.

1 minute ago, jawoodruff said:

That really helps. The movements of the suite aren't going to be that long (maybe no more than 5 mins for the longest one I have planned). But with 6 movements, the full work will be at least 20 mins or so.

Of course, I am not good at orchestration at all so I cannot really help you on that. But as a general listener I love the prelude! It will be great to hear the suite in its entirety I guess!

For the second movement I enjoy it as well! I see in the second movement the key signature of the transposing instrument disappears, as in the first movement it's kept. Maybe it's better to remove it for all the movements since this piece is not tonal in the traditional sense.

Does the timpani plays Ab-Ab-Ab-Ab-A natural in the first section? I think adding a natural sign for the A natural will clarify it more.

I love the opening all strings section and the later section when winds join in. A great climax as well. Personally I just find bar 37-48 when the trumpet is soloing, the gap when the trumpet stops is quite long to me since the strings in the recording do not fill it up. Maybe adding an sf for the strings entry? The winds are so beautiful later on, I have nothing to say!

Henry

Hmmm should be an Ab... I'll fix that tomorrow. I like the starkness between the two textures and that is a follow up of the climactic segment of the prelude that foreshadows another movement. I'm probably not going to change it. The movements in this suite are interconnected -its part of the overall structure of the suite. So, you'll have to get used to sections just appearing starkly like this! Sorry, to be a curmudgeon about it. I'll look at the sf and consider it. 

Keep in mind that the score isn't finalized. So I'll have to add the key sig for the transposing instruments in for the final draft of the score. I just turn it off so I can focus on the notes itself. I don't need to -just makes it easier to see the harmonies without the nuisance of transposing.

The last section of the 2nd movement is meant to provide some much needed air after the tense ending of the first movement and the opening section of this movement. I felt a little lighter texture and interplay with the 8th note subject would be a good touch. 

Hi, good music. The best, for me, is the textures of the strings and the remaining instruments floating or playing ostinato.

In the first part, I think it's difficult for the flute playing pp or less at that high range. Perhaps this helps:

2 hours ago, Luis Hernández said:

Hi, good music. The best, for me, is the textures of the strings and the remaining instruments floating or playing ostinato.

In the first part, I think it's difficult for the flute playing pp or less at that high range. Perhaps this helps:

 

 

Totally saving this chart, thanks!!! So, I'll see if I can drop this passage down an octave, I was worried it was too high. The dynamic pp isn't precise. I just want little force here... more sustaiment then anything. But the hairpin is a good point made. I love this kind of critique. This is what is helpful. ❤

5 hours ago, Luis Hernández said:

Hi, good music. The best, for me, is the textures of the strings and the remaining instruments floating or playing ostinato.

In the first part, I think it's difficult for the flute playing pp or less at that high range. Perhaps this helps:

This chart really helps for piccolo and flute playing. I've saved this too. Thanks for sharing Luis!