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Written 18 months ago. In the time since I’ve attempted to convert it to VSL – without success. Samples here are ancient but I can’t get the effect I want with VSL. Why? I don’t know. So I’d leave it as it is except for some pizz stuff near the end which I may cut out.

It’s one I’d like to submit to our County orchestra so my question is, does it sound adequate as a mock-up?

I’d be truly appreciative of any comment, good or bad. It’s slow, ruminative; and if you think it’s boring don’t be afraid to say. Sooner here than people afterwards glancing heavenward should it be performed!

Many thanks. 

NOTE: THANKS TO SOME PERCEPTIVE COMMENTS I REVISED THE ENDING. IF INCLINED TO LISTEN, PLEASE LISTEN TO THIS REVISED EDITION.

https://soundcloud.com/acitore/clouds-version-2

Instead of this one. Thank you. :)

 

 https://soundcloud.com/acitore/clouds-landscapes

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Dane,

Not boring at all.

But here's something to think about. As a sonic representation of a visual experience, I get it. Clouds drifting by. It just kind of ends. I don't mind the non-dominant ending. But as a piece of music, I might build up volume and motion to some kind of climax. Then slowly fade into the distance. I know that's the traditionalist in me. Music can just sit there, or it can take us on a journey, It can muddle around, or it can massage us into an elevated state of existence.

But I see no reason not to hand it to your orchestra. 

As to the your sounds? I had no problem at all. Perhaps a composer is doomed to never liking whatever rendition his software spits out. Real players might not get it quite right either. Such is the path we've chosen.

I agree with Bob here Dane. VSL has spoiled you, I'd love to get a mock-up of this quality, what library is that?

Now if your County Orchestra is into Strauss waltzes and Beatles tunes you may have a problem, but this piece should be fine for a contemporary tolerant audience. The ending is too abrupt for me however.

Definitely not boring.. Infact quite engaging in several parts. I have to agree with the other commenters regarding the ending being too abrupt. Maybe that was intentional, but still doesn't seem to work well for me.

The piece reminded me a bit of "Piccola musica notturna" by Luigi Dallapiccola , even though that's for a smaller ensemble. Overall, a very atmosheric piece !

Thank you all for these kind comments - and for listening through.

It does seem that the ending is a problem. I must admit to liking Bob's idea of letting it drift off into the sunset (so to speak), but even if I kept the existing ending I reckon it's best to prune it right back to the 5 minute mark and rework it, possibly tacking on the reprise of that tuneful bit and fading out from there. It would seem a fitting ending.

I won't hide feeling that most of the last 25 seconds or so seemed to drag - basically too sustained. Pruning seems the way. Pleasing though that the atonality didn't drive you away.

So I'm most grateful for these comments and thank you again. Most helpful. 

oOo

Hi Dane

An accomplished piece. When I was listening to this what was mostly going through my mind was nothing to do with clouds or landscapes. I was actually thinking that it would make a great setting for a piece of modern theatrical dance.

Cheers, Colin

Hi Dane,

Thank you for sharing your music.  It should not have any problem with the average audience I believe.

Because it is meditative and it is not too long.

Freshness can be perceived from the beg to end.  Very nice work.

The title and subject (if I may say) of the work requires a uniform approach.

Contrasts are not used functionally but only as colors to keep the freshness.

I think, do not change this work too much.  It is beautiful.  You may always

write a new one if you like.

All the best.

Ali R+

Hi Dane

I basically agree with what Bob has said in the first commentary, but I also feel the need to add a few things:

Why have you defined the piece "impressionist"? I sense the visual representation you're giving us is very personal, subjective (swinging thoughts and emotions deriving from the visual experience), therefore expressionist - not that these terms mean very much to me or to the music itself :))
I would just like to make sure that we are communicating on the same levels.

BOB. I spent the day looking at revisions to the last couple of minutes and have posted a new version. Thank you and Ingo for the prompt.

INGO: Apologies not answering your question. The samples are "Peter Siedlaczek's Advanced Orchestra". They must have been the very first full orchestra set: published IIRC in the late 1990s for outboard sampling machines. Looking at my files I must have bought them early 2007 in a Timespace sale at a very reduced price. I think the whole set cost £50. They were better than nothing. But, oh boy, did they need some work?! to get them uniform. etc. When I got Reaper, I loaded them into its Samplomatic, trimmed them a bit more and things. 

The problem is that each articulation needs a separate track - not too bad in Reaper as they can all be collated into the same editor, selecting the instrument to edit. Could be worse! 

.

Many thanks for your kind comments. Pleased that you liked it.

:)

Ali Riza SARAL said:

Hi Dane,

Thank you for sharing your music.  It should not have any problem with the average audience I believe.

Because it is meditative and it is not too long.

Freshness can be perceived from the beg to end.  Very nice work.

The title and subject (if I may say) of the work requires a uniform approach.

Contrasts are not used functionally but only as colors to keep the freshness.

I think, do not change this work too much.  It is beautiful.  You may always

write a new one if you like.

All the best.

Ali R+

Thank you, Colin. Most appreciated.

It comes as no surprise really. I sometimes think contemporary dance, being a huge fan of the (sadly) deceased Merce Cunningham inter alia. His Pond Life is one of the most beautiful physical spectacles I've seen. It was recorded and issued briefly. So I can take up from you how it might be choreographed. I'm humbly complimented indeed.

:)

Colin Dougall said:

Hi Dane

An accomplished piece. When I was listening to this what was mostly going through my mind was nothing to do with clouds or landscapes. I was actually thinking that it would make a great setting for a piece of modern theatrical dance.

Cheers, Colin

Sincere thanks for your comments.

Yeah, it was my bad to attach "landscapes" to the file. That’s a folder I keep like pieces in. That's all.

As to impressionist: it's labels. 

It most fits. About mood and atmosphere rather than tone picture. I put it somewhere in the topic title or description so that those who don't like the style can dismiss it.

I have doubts about the validity of synaesthetically associating music to the visual and mood seems to be the only choice (that I have anyway). It’s what I feel not what I see. Like most attempts at creativity it’s always going to be deeply personal (unless nicking someone else’s work which I don't knowingly do).

Definitely not what I understand by expressionism. 

Hope that clarifies a little at least.

:)

Valerio Dalla Ragione said:

Hi Dane

I basically agree with what Bob has said in the first commentary, but I also feel the need to add a few things:

Why have you defined the piece "impressionist"? I sense the visual representation you're giving us is very personal, subjective (swinging thoughts and emotions deriving from the visual experience), therefore expressionist - not that these terms mean very much to me or to the music itself :))
I would just like to make sure that we are communicating on the same levels.

Well sure, music is all about mood. But I think music tied somehow to, say, video, is a powerful thing. You can say it limits what you feel. But it also might help focus what you feel. Just depends.

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