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Hello again,

This item started out as an experiment to check the balance between a high and low voice against the orchestra – like what I could get away with! But I ended up developing it into another “song without words” to stand alone. It's in preparation for a small cantata / operetta which I’m still working on – or was.

My experiences so far with notation software have not been happy. I’ve often held back from giving it the footware/wear. In fact, I’m hoping it hasn’t put me off composing for life.

If you can give it a listen it would be totally appreciated and many thanks if you can comment, good or bad, including the scoring. I'm particularly concerned with whether the voices are clear against the orchestra.

Thank you.

Reloaded the sound file.

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Hi Dane,

The voices are clear against the orchestra. No problem.

Clarity is valid for all parts in fact.  Very clear orchestration colors.

Rendering is superb as usual for you.

My only reservation:

If you want to create an effect you have to create its reverse also.

Otherwise it will not be perceived as such.  for example,

if you want to make a transition to a motive, you should concentrate

not only giving hints of it but also on hiding these hints... (By the way

I learned this after the 30th year of my graduation...)

If you want to create anti-cohesion you have to corelate some...

The ending sounds not good.

Congratulations any way.  It is a lot of work.  Excellent.

Ali

Note: I greatly appreciate the score pdf.  Very good for my hearing.

This is masterfully conceived and realized Dane, nothing here to criticize.  Taking advantage of full orchestra and voices with harp, vibraphone and percussion for extra spice that all blends together nicely. I'm not noticing the dissonance or eccentric rhythms because it is all logically and musically assembled. And who needs words anyway?

And an impressive score with composite meters as well; I'd say you've won the notation wars!

Hi, Ali

Well, many thanks for listening through and your generous comment. Your analytical eye is always appreciated.

I'm not too sure what you meant about giving hints of a motif, nor hiding them. I tend to through-compose, motifs often linking episodes or recurring later in the piece. They're usually simple (maybe just 3 or 4 notes) with kind of 'subordinate' phrases leading off.

Yes, the ending isn't up to much. I may repeat the chord at the end or converge onto it by another chord. Engraving the score was a nightmare but I plodded on! 

Again, thank you.

Ali Riza SARAL said:

Hi Dane,

The voices are clear against the orchestra. No problem.

Clarity is valid for all parts in fact.  Very clear orchestration colors.

Rendering is superb as usual for you.

My only reservation:

If you want to create an effect you have to create its reverse also.

Otherwise it will not be perceived as such.  for example,

if you want to make a transition to a motive, you should concentrate

not only giving hints of it but also on hiding these hints... (By the way

I learned this after the 30th year of my graduation...)

If you want to create anti-cohesion you have to corelate some...

The ending sounds not good.

Congratulations any way.  It is a lot of work.  Excellent.

Ali

Note: I greatly appreciate the score pdf.  Very good for my hearing.

Hi, Ingo

I'm flattered by your kind remarks for which I thank you indeed, and for listening through. It makes me feel that the headache of putting the score together was worth the effort. I certainly learned a good deal editing the xml - had no choice! Trouble is, I don't know yet whether there's light at the end of the tunnel or a tunnel at the end of the light. As the need for scores seems to diminish* I'm inclined to keep them as midi and xml files. The score is only necessary if there's hope or intention to try to get a live performance.

But anyway, thanks again. It's always pleasing to hear what you have to say. I just hope this notation caprice hasn't put me off. I haven't written a note since.

* Regardless of lockdown, I had a visit from the leader of a dance troupe I work with who's talking about the hope of a show later in the year. She thinks a good rendering is better than live performers from the rehearsal point of view, i.e. the music will always be consistent. Such is the way it's going.

Ingo Lee said:

This is masterfully conceived and realized Dane, nothing here to criticize.  Taking advantage of full orchestra and voices with harp, vibraphone and percussion for extra spice that all blends together nicely. I'm not noticing the dissonance or eccentric rhythms because it is all logically and musically assembled. And who needs words anyway?

And an impressive score with composite meters as well; I'd say you've won the notation wars!

Hi Dane,

In regards to:

>I'm not too sure what you meant about giving hints of a motif, nor hiding them.

My comment was intended to be more general.  Keeping up the freshness may be balanced

by using elements that kills the freshness sometimes.  Your approach also implies this by:

>. I tend to through-compose, motifs often linking episodes or recurring later in the piece.

My objection is 'recursion' is not underlined enough to kill the effect of complete and continuous

freshness (or of course I could not perceive it as such).  Recursion may give a sense of remembering,

but that may not be enough to break down the continuous sense of freshness.

Was I able to express my sensitivity, I do not know either.

Nevertheless it is a perfect work.  By the way, the ballet thing news is great!

Good for you.

All the best.

Ali

Dane Aubrun said:

Hi, Ali

Well, many thanks for listening through and your generous comment. Your analytical eye is always appreciated.

I'm not too sure what you meant about giving hints of a motif, nor hiding them. I tend to through-compose, motifs often linking episodes or recurring later in the piece. They're usually simple (maybe just 3 or 4 notes) with kind of 'subordinate' phrases leading off.

Yes, the ending isn't up to much. I may repeat the chord at the end or converge onto it by another chord. Engraving the score was a nightmare but I plodded on! 

Again, thank you.

Ali Riza SARAL said:

Hi Dane,

The voices are clear against the orchestra. No problem.

Clarity is valid for all parts in fact.  Very clear orchestration colors.

Rendering is superb as usual for you.

My only reservation:

If you want to create an effect you have to create its reverse also.

Otherwise it will not be perceived as such.  for example,

if you want to make a transition to a motive, you should concentrate

not only giving hints of it but also on hiding these hints... (By the way

I learned this after the 30th year of my graduation...)

If you want to create anti-cohesion you have to corelate some...

The ending sounds not good.

Congratulations any way.  It is a lot of work.  Excellent.

Ali

Note: I greatly appreciate the score pdf.  Very good for my hearing.

Ah.....Thank you, Ali. I get it now.

I'll bear that in mind - though I think I need a rest from composing after the struggles with notation software! 

You're a far superior analyst than me and your guidance is fully appreciated.

Bests,

Dane

Link is not working, Dane.

Hi Kjell,

Strange. It works for me and is the site's internal player. Is anyone else having trouble with it. I'll reload it.

But anyway, I loaded the same piece on Soundcloud.

https://soundcloud.com/acitore/song-without-words-for-mezzo-bariton...

Thank you for your interest.

All the best.

Hi Dane,

it is an impressive work, truly impressive. High ingenuity and creativity. I guess there is some theoretical study behind this kind of art. It feels modern but in spite of that very enjoyable and that makes me happy too. Contemporary music is often lousy, to be honest, and one need to be very brave to get into that. But when you succeed , as in your case, the achievement is huge.

Congrats Dane. One day I will try too.

/Kjell

Hello Kjell,

You are most kind with your comments. Thank you for listening and commenting. I'm afraid that the only theory behind my rather humble tries is - do they sound as I want them? With everything I pause to wonder how I'd prepare it for an orchestra should the (unlikely) chance arise. 

Most encouraging. Thank you.

Cheers,

Dane.

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