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The longest single movement I've written. It was an attempt to unify material stated in the first couple of minutes. I started it late in March and brought it to its present state two weeks ago. There's a slight deviation from the scheme in the shape of a small scherzo in the full version. It took a huge effort on my part trying to get it into shape, seemed to steal from my energy but I soldiered on. 

Very aware that I'm trespassing on people's time hoping they'll give it a listen, I've presented a short version here (about half the piece down to the start of an Adagio). 

https://soundcloud.com/acitore/sinfonietta-part-1-only  (Withdrawn)

But if you could be kind enough to listen to the whole work. many thanks indeed. Truly appreciated. However in the absence of a meaningful score I don't expect detailed comment

 I know that there are still revisions to make so any general comment would be really appreciated.

The FULL version:

https://soundcloud.com/acitore/sinfonietta-150719

Cheers, Dane

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Well, I don't consider film music to be background. But it needs to be well written. Like all music should be. And who is the judge? I am, of course: )

I read somewhere that after a gig together, Miles Davis asked John Coltrane, "Man, why do you play so long?" and Coltrane replied, "I had to play that long to get it all in."

Not only do Mozart's works contain the right amount of notes, they are also always the right notes. On the right instruments. In the right register. At the right time. And so on. Probably why his music is so often considered to be perfect (which it is, or as close to it as mere humans are likely to ever come).

Dane Aubrun said:

That's probably why Mozart won out and is still in the 'art music' charts today as back in his own time. His works contain just the right amount of notes.

I've heard that Mozart was quite good at music.

Jon Corelis said:

The right length for a piece of music, a book, or a film,  is it should be long enough to get everything in it that has to be in it and short enough so that nothing that doesn't have to be in it is in it.

Wonderful work. I think it showed your range in a style I don't often listen to or appreciate (since theory/lit/ class @ IU 78)

I did hear some familiar colors and motives (Bernstein?) and agree that your mastery of the orchestral DAW rendition is amazing. I look forward to more.  

Dane, I'm sorry I'm late to this and I hope you are doing Ok healthwise.  I enjoyed this piece and I didn't find the length to be an issue other than my own lack of time.  I guess we expect certain unifying elements in longer pieces and so you get comments about that and I understand how listeners feel about that but I don't feel it is a problem with this piece to my ears at least.

As always I am impressed with your sounds.  Do you have to spend a lot of DAW time to get the parameters adjusted? I mean does DAW time dwarf composition time?

Good work, thanks for posting!

Thank you! Much appreciated. I have to be pretty careful whose music I sit close to when working on something like this, the most dangerous being Peter Mennin. Sure, I'll never compose music of the technical quality of Mennin but I find his energy infectious!

Glad the piece held together for you. Some revision is in order. 

Will Brecht said:

Wonderful work. I think it showed your range in a style I don't often listen to or appreciate (since theory/lit/ class @ IU 78)

I did hear some familiar colors and motives (Bernstein?) and agree that your mastery of the orchestral DAW rendition is amazing. I look forward to more.  

And thank you for listening and your kind comments.

About the DAW. I use Reaper now but my first one came free with a computer music magazine, really a glorified midi editor but it came with certain features like making up VST instruments. Even so, a huge learning experience so if I’ve accomplished anything it was down to wrestling with that. 

I do try though, and possibly because I’m too lazy to uncover some of the advanced features, do everything in the simplest way, draw the notes in the piano roll. Laziness may be the wrong word…I’m usually too eager to transfer what I’ve done on paper.

 

Strange how it pans out. I’ve just finished an impressionist thing about clouds using some Vsl samples. I hoped to offer it here. But…I’d done a version a few years go using the ancient samples I started with and had to work upon. Perhaps I was silly to refer back because I now find it sounds more limpid, airy, you name it, than the new version which I’ll have to reject or rework if I find the inspiration.  Quite a disappointment taking a backward step! 

Again, thank you.

Ingo Lee said:

Dane, I'm sorry I'm late to this and I hope you are doing Ok healthwise.  I enjoyed this piece and I didn't find the length to be an issue other than my own lack of time.  I guess we expect certain unifying elements in longer pieces and so you get comments about that and I understand how listeners feel about that but I don't feel it is a problem with this piece to my ears at least.

As always I am impressed with your sounds.  Do you have to spend a lot of DAW time to get the parameters adjusted? I mean does DAW time dwarf composition time?

Good work, thanks for posting!

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