P-E Rosqvist - The Love Story of Patricia! (NEW VERSION!!!)

[Per-Erik Rosqvist]

OK UPDATE!!!

I followed Anne Goodwin's advice and raise the tempo (maybe too much)
Feel free to listen and give constructive advice on for exemple how to develop i further. PAtrik, I will follow your advice, when I hace studied enough to follow you advice! :)

And also please feed on orchestration and well, just tell me if you find it good or bad! :)

(There is one false note, in this one.... I hope you don't get too upset about that ;)

[Patrik Ohlsson]

Here's my comment on The Lovestory of Patricia:
Gives a sense of an epic story in a filmic and moodful way. However the dynamic form doesn't evolve which makes it hard to locate seperate events even though there are a plentiful. What I mean is that not transforming dynamics or transparency of the orchestra (for example here the cello part) between or during the events makes the piece static although the events clearly would like to differ or evolve (in my ears) in a dynamic way. Since the different parts are sorted out and the melody + harmony is in it's place and do work well, I only think it's the balance between voices, foreground + background that needs to be sorted out. Here it's also a problem with the samples, the expressive samples of EWQL works well in a shorter section but because they aren't RR'ed (roundrobin) and always have such slow attack, they bring down realism quite a bit. I would therefore combine them with other samples in a KS.

Hopes this helps you further this piece in your own way and good luck!

Patrik

[Anne Goodwin]

The only thing I would say about this piece Per is that it has a slow tempo that one must be patient with when listening, especially as the piece is a bit lengthy. Also, I found that the first time or two that I listened that somewhere between the 1:36 and 2:05 mark, the sound was a bit 'filmic' which is no problem if that is what you want but personally, I am not used to hearing this type of sound in your music. Different from previous works as well was that there was no trace whatsoever of the 'celtic' sound that I usually hear in your music; again, that is fine. I'm just making an observation. Overall, though, I feel the piece is very nice and I enjoyed listening to it.

[Per-Erik Rosqvist]

THanks. I suspected it was something like this you were going to write for me :D...
Thanks PAtrik, the third "evil norseman". lol

I got the "fundamental" book by Schönberg now, as I told you I would. Seems to be an interesting ( not to lengthy) read..


Patrik Ohlsson said:

Here's my comment on The Lovestory of Patricia:
Gives a sense of an epic story in a filmic and moodful way. However the dynamic form doesn't evolve which makes it hard to locate seperate events even though there are a plentiful. What I mean is that not transforming dynamics or transparency of the orchestra (for example here the cello part) between or during the events makes the piece static although the events clearly would like to differ or evolve (in my ears) in a dynamic way. Since the different parts are sorted out and the melody + harmony is in it's place and do work well, I only think it's the balance between voices, foreground + background that needs to be sorted out. Here it's also a problem with the samples, the expressive samples of EWQL works well in a shorter section but because they aren't RR'ed (roundrobin) and always have such slow attack, they bring down realism quite a bit. I would therefore combine them with other samples in a KS. Hopes this helps you further this piece in your own way and good luck!

Patrik

[Per-Erik Rosqvist]

Hi Anne! :)
AH, the tempo! I will try the advice to lower it and be back. And thanks for your views on my celticism ;) and I hav eno explanation why it isn't here :) I have written several pieces with a russian sound as well, may post it here one of these days.

Thanks for taking the time listen to it, Anne. And I am happy you enjoyed it!

Take care!
Per

Anne Goodwin said:

The only thing I would say about this piece Per is that it has a slow tempo that one must be patient with when listening, especially as the piece is a bit lengthy. Also, I found that the first time or two that I listened that somewhere between the 1:36 and 2:05 mark, the sound was a bit 'filmic' which is no problem if that is what you want but personally, I am not used to hearing this type of sound in your music. Different from previous works as well was that there was no trace whatsoever of the 'celtic' sound that I usually hear in your music; again, that is fine. I'm just making an observation. Overall, though, I feel the piece is very nice and I enjoyed listening to it.

[Per-Erik Rosqvist]

OK UPDATE!!!

I followed Anne Goodwin's advice and raise the tempo (maybe too much)
Feel free to listen and give constructive advice on for exemple how to develop i further. PAtrik, I will follow your advice, when I hace studied enough to follow you advice! :)

And also please feed on orchestration and well, just tell me if you find it good or bad! :)

(There is one false note, in this one.... I hope you don't get too upset about that ;)

[Anne Goodwin]

I like it much better now Per, and yes, I think there is even room to bring the tempo down just a bit if you wish to do so. I think Patrik had some very good points so I will listen again once you have had an opportunity to incorporate some of his suggestions. :)

[Fredrick zinos]

Its a very good piece of work, but I echo Patrik's comment that its too much of one thing without enough contrast in texture. Thats not an easy thing to do, I realize; having that immense orchestra in front of you and then think about using it sparingly. Its wise to remember that all 100 musicians staring up at you from orchestra pit believe with all their hearts they are soloists. Its nice if you can treat them that way.

[Patrik Ohlsson]

I'm listening to the updated version now. I hear that you've developed the expression further. Whilst reading Schöenberg, check out his "Criteria for the evaluation of music". He writes about what he calls "developing variation", it's quite intriging. Also you should check out Schönbergs Op. 16, III - Farben, very cool, heard it first time today! Very Webern'ish.

Great job, I hear it taking shape. You have definitely increased transparency. There are still some minor balance (yeah I'm naggy) issues which imposes on the realism. The melody/harmony relation is still a bit wobbly and whilst some sections (like in the beginning) mix well, others (like when the oboe comes in) mixes less well. These could all be sample issues but I'm sure you understand me.

Hope you find my criticism constructive.

Patrik

[Per-Erik Rosqvist]

To Anne, Patrik and Fredrick: Thanks all for constructive advice.. Thanks alot to Fredrick for his interesting analogy with a real orchestra, and Anne: I will have a new version up in january or so :)

PAtrik: I will focus especially on that chapter, when i study :)

Thanks!