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I don't really have anything to say about this. Just inviting people to listen and critique if desired.

Hi Art,

There are some lovely harmonies and ideas in this, all very French to my ears.

There are some technical errors. The cross over the pizz. notes is only used for what is known as left hand pizz and not for normal pizz. Tempo markings do not need to be put in every line on a full score, just above the top line will do.

The octaves in vln1 at bars 23-27 are impractical really and would not produce an expressive musical result. Just generally more attention to details in for example the slurs and perhaps more dynamic markings, hairpins accents and so on, all important details for you to get your music across.

I wish you would have developed some sections for a bit longer, because some of the ideas are worth it..


Thanks for the critique, Mike. Exactly what I was hoping for. The wrong pizz markings! And me, a former violinist! How embarrassing. It's been a lot of years since I had to read sheet music. (I looked up notation for standard pizz, and it seems that this is done with text entries. Wouldn't that be hard to pin-point for specific notes? How to notate for a resumption of bowed notes?

As to the tempo markings on each part. I've noticed some classic scores on this. My DAW's scoring function looks like those markings are tied to positions in specific parts, so that when the parts are broken out into separate sheets, they would all appear in each part. Or, is that something that would be done only when the score is broken down into separate parts?

As to the octaves, they would certainly sound with audible shift "portamentos", which I do find expressive. 

The slur markings are there primarily for phrasing, not so much for bowing instructions. Isn't it done this way? 

Stretching out and developing  musical ideas is not a strong point for me. Just one more thing that separates me from a genius like Ravel.

Fair enough re portamento on the 8vas, but it might be a nicer texture overall with just the top 8va - just a thought.

Yep, tempo marks, accell and rits etc should be in individual parts, but the full score just needs it once and normally above the top line.

Try some motivic development as a way of developing an idea, it's amazing what you can find by improvising around a melodic shape, stretching it to lengthen some notes or shorten it, repeating smaller parts of it, modulating with it, turning it upside down, running it backwards, subjecting it to a cycle, the variations are endless and you don't need to be a genius to exploit them. 

The slur markings are there primarily for phrasing, not so much for bowing instructions. Isn't it done this way? 

Slurs normally dictate bow changes, but granted some composers in the past used them for phrasing. These days, it is best to use them for bow changes and a secondary slur for phrasing if you need to -  as you have indeed done in places.

Maybe I'm doing this wrong. I  normally do some of that exploring permutations of a motive when I bring them up later in a piece, having initially made the statement briefly and concisely in its original expression, although the variations are usually pretty rudimentary. It's a skill to be developed. 

Generally, bringing back a motive has usually been a useful tool for coming up with an idea when I am stuck. That probably isn't the same as developing it. 

Nothing wrong there Art and you're right, recapping an idea is not developing it.

The skill can be learnt.........

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