Aria or something

Hello

To "refresh" the mind a bit, I have started with something less demanding, in principle, than leaks. The initial melody came out and it started.

At the moment there is only one phrase and its answer.

The issues are:

1. I would like to do something a bit longer, but well, if I see that it bores me, I'll cut it.
2. I'm interested in working on some things I'm learning about orchestration, like homogeneity in the families of instruments, do you notice something first in the strings, then in the winds, as a harmonic accompaniment?
3. I removed the harpsichord and replaced it with a harp.
4. I don't know whether to leave the instrumentation like that or to put in the trombones, the tuba and finally, like a romantic orchestra of the first period. The truth is that as it sounds good to me, for the moment...

Any suggestions about the overall formal structure?
 

Hi Luis,

On 8/2/2023 at 7:08 PM, Luis Hernández said:

I'm interested in working on some things I'm learning about orchestration, like homogeneity in the families of instruments, do you notice something first in the strings, then in the winds, as a harmonic accompaniment?

First it's clarinet plus horn melody and strings accompaniment in b.1-4, b.5-8 strings take lead and I think the horn is more foreground the woodwinds there.

On 8/2/2023 at 7:08 PM, Luis Hernández said:

3. I removed the harpsichord and replaced it with a harp.

I really love the combination of a weak trumpet with harp in b.9-12. A harpsichord will have a much less dreamy feeling here and turns it to something gothic.

On 8/2/2023 at 7:08 PM, Luis Hernández said:

I don't know whether to leave the instrumentation like that or to put in the trombones, the tuba and finally, like a romantic orchestra of the first period. The truth is that as it sounds good to me, for the moment...

A mute trombone can sound well too but it's up to you haha!

On 8/2/2023 at 7:08 PM, Luis Hernández said:

Any suggestions about the overall formal structure?

I think you are always very knowledgeable and know what you want in your music. Now you are having instruments alternating in 4 bars time. What about having a contrasting phrase in 8 bars time exclusively on a solo instrument? Then a (cliche) tutti return of the A section haha.

Thx for sharing!

Henry

@Henry Ng Tsz Kiu

Thank you. A couple of things:

First it's clarinet plus horn melody and strings accompaniment in b.1-4, b.5-8 strings take lead and I think the horn is more foreground the woodwinds there.

I'll check this, sometimes I add a second instrument to a melody or line more than just to be heard, to change the timbre. Anyway, I'm always checking the dynamics and so on. As I learn: "never double a line unless there is a justified reason".

Now you are having instruments alternating in 4 bars time. What about having a contrasting phrase in 8 bars time exclusively on a solo instrument?

This is a good idea and I will try it. The piece is a bit longer now and has change from G minor to F dorian, but the phrases are still short.

8 minutes ago, Luis Hernández said:

I'll check this, sometimes I add a second instrument to a melody or line more than just to be heard, to change the timbre. Anyway, I'm always checking the dynamics and so on. As I learn: "never double a line unless there is a justified reason".

Yup this is very true, but obviously you double the clarinet and horn here with a very good reason since either the clarinet or the horn alone cannot produce this particular timbre. It's definitely perfectly justified.

@Henry Ng Tsz Kiu

I highly recommend Gerge Frederick McKay's book "Creative Orchestration".

On "Vividness of timbre" he states that "opposing timbres in differing design tend to become particularly clear".  For example a pizzicato line against a group of flutes (dry against liquid).

I have to check this out (or maybe for the next thing I do haha). Clarinet plus horn is not bad contrast for me it's like dry vs mellow. But there are more powerful contrasts.....

Interesting, ….

@Henry Ng Tsz Kiu

Anyway, you were right and your ear is not wrong.
I have thought about it and this combination clarinet + horn interests me here at first because rather than a strong contrast of timbres, I prefer to present the melody the half ethereal sound they produce. It is good to experiment with timbres. And this orchestra model is very short.

What I did was to compensate with 2 clarinets because it is true that it is in a lower register and with less projection.

Yup this combination is something I should have tried later in my pieces. In the only piece when I use both of these instruments in my Wind Quintet piece, I always the horn pair up with bassoon. The clarinet combines with flute, oboe and bassoon separately or in other permutations, but never with horn. It's always great to experiment different timbres which is one of my weakness in composing. (Looks like I have many weakness LoL,,,)

@Henry Ng Tsz Kiu

Yes, of course, this approach follows the classic patterns.
In the 20th century, you know, everything was experimentation, including timbres.

I, for that reason, respect, and use all the time, those standard combinations, especially in those closed instrumental groups.

But in an orchestra there's more play to try....