Quintet

Any feedback is welcome! Hopefully the parts for the Marimba and the Harp are playable; I still have to check how pedals work in Harp, but for now I want to know what this sounds like to everyone and if this is enjoyable!Quintet_1.pdf

The textures are very satisfying and the music flows well with clear direction.

Some of the harp writing looks like it was written for piano, which most of it would not be unreasonable for a harpist, but measure 23 seems like it might be too much for plucking. Make sure you understand how the instruments are played when writing for them.

Another similar issue occurs on measure 27 in the violin. That's much too fast for pizzicato! 

Remember also to provide dynamics when the instruments first play. You did so with the piano and strings, but the harp was only a measure late and the poor marimba only gets dynamics at the very end.

The section from bars 9-12 feels awkward to me, and upon closer inspection, it looks like you don't quite know how that's harmonised, so the viola kind of ends up sounding off. I've written the implied harmony I hear and how I would write the viola part (also, I changed the key signature to be more accurate with the tonal center, used quavers instead of semiquavers in the left-hand piano just because I think it looks nicer, and shortened the last notes' duration of the strings to fit with standard pizz writing i.e. no minims or longer for high strings) As you can see, I continued the established contrary motion and reinforced the harmony. The rest of the piece was harmonically coherent.

I hope this helps!

7 hours ago, ComposaBoi said:

The textures are very satisfying and the music flows well with clear direction.

I am glad you think so!

7 hours ago, ComposaBoi said:

Some of the harp writing looks like it was written for piano, which most of it would not be unreasonable for a harpist, but measure 23 seems like it might be too much for plucking. Make sure you understand how the instruments are played when writing for them.

I see. Is that plucking the multiple notes would be too fast? I still have to acquaint myself with how most instruments work, I only play the piano and the guitar. I referred to this (Saint-Saëns's Faintaisie for Harp, Op. 95) which seems very difficult.

7 hours ago, ComposaBoi said:

Another similar issue occurs on measure 27 in the violin. That's much too fast for pizzicato! 

Would splitting the notes alternatively for the violin and the viola work? I think that might be too fast too.

7 hours ago, ComposaBoi said:

The section from bars 9-12 feels awkward to me, and upon closer inspection, it looks like you don't quite know how that's harmonised, so the viola kind of ends up sounding off.

I see. I liked your suggestion and I've changed bar 11 to your version, and slightly modified bar 10 (changed the Viola's A to D). What key signature did you use? While I prefer the sound of the semiquaver version over the quavers, it doesn't make much of a difference when there are many instruments playing, only when the piano's sound is dominant, so that could work!

Thank you very much for your suggestions, they're very helpful!

7 hours ago, piajo said:

I see. Is that plucking the multiple notes would be too fast? I still have to acquaint myself with how most instruments work, I only play the piano and the guitar. I referred to this (Saint-Saëns's Faintaisie for Harp, Op. 95) which seems very difficult.

 

It's less so the speed and more the technique at that speed. A harp can play arpeggios and glissandi very very fast because they can glide across or alternate hands, but you have two notes at a time that are close together and fairly fast on the same staff. Pluck like that in the air and feel how awkward that is. The best solution I think would be either to increase the note duration or make it one note at a time, but maybe you can figure something clever out.

Also, that is a great piece to study. Saint-Saen's harp writing is top notch stuff.

7 hours ago, piajo said:

Would splitting the notes alternatively for the violin and the viola work? I think that might be too fast too.

 

Yes, that would work. To get an understanding as to why that's too fast, grab your guitar and play that part at speed with only one finger plucking on only one string. 

Anyway, I'm glad my feedback has been of some use 🙂

Hi @piajo,

This is a surprisingly percussive piece. The piano and the strings are treated more as a percussive instrument here and the texture is interesting. I like the G Lydian too. I am not sure the blending of harp and piano together will be good or not though, since I am afraid the harp may be overpowered by the piano. And I love @ComposaBoi’s review!

Thx for sharing!

Henry

14 minutes ago, ComposaBoi said:

It's less so the speed and more the technique at that speed. A harp can play arpeggios and glissandi very very fast because they can glide across or alternate hands, but you have two notes at a time that are close together and fairly fast on the same staff. Pluck like that in the air and feel how awkward that is. The best solution I think would be either to increase the note duration or make it one note at a time, but maybe you can figure something clever out.

Ah I see, that makes sense. I will try something out!

5 minutes ago, Henry Ng Tsz Kiu said:

This is a surprisingly percussive piece. The piano and the strings are treated more as a percussive instrument here and the texture is interesting.

That was the intention!

5 minutes ago, Henry Ng Tsz Kiu said:

I am not sure the blending of harp and piano together will be good or not though,

I am also not sure of that, perhaps I will change the dynamics to bring out the harp's sound. Essentially, at times I want it to stand out while at the others it's in the background. Thank you very much for your insights!

On 1/10/2024 at 4:53 PM, ComposaBoi said:

The textures are very satisfying and the music flows well with clear direction.

Some of the harp writing looks like it was written for piano, which most of it would not be unreasonable for a harpist, but measure 23 seems like it might be too much for plucking. Make sure you understand how the instruments are played when writing for them.

Another similar issue occurs on measure 27 in the violin. That's much too fast for pizzicato! 

Remember also to provide dynamics when the instruments first play. You did so with the piano and strings, but the harp was only a measure late and the poor marimba only gets dynamics at the very end.

The section from bars 9-12 feels awkward to me, and upon closer inspection, it looks like you don't quite know how that's harmonised, so the viola kind of ends up sounding off. I've written the implied harmony I hear and how I would write the viola part (also, I changed the key signature to be more accurate with the tonal center, used quavers instead of semiquavers in the left-hand piano just because I think it looks nicer, and shortened the last notes' duration of the strings to fit with standard pizz writing i.e. no minims or longer for high strings) As you can see, I continued the established contrary motion and reinforced the harmony. The rest of the piece was harmonically coherent.

I hope this helps!

 

WELL SAID!