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This is not super-novel, but if you are stuck compositionally, just take two measures (or four or more) and repeat them transposed at a different interval.  Grieg does this all the time in his Lyric Pieces!

Up or down a fourth/fifth if you want to be tonal, up or down a third/sixth if you want to be a little more adventurous, up or down a 2nd if you want to blow minds...  You may have to do a little soldering work to clean up the joints or sand down the accidentals, but it works pretty well as a pure crafting tip.

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Haven't listened yet. Not enough piece of mind this week.

John Driscoll said:

I just can't stop... Two more and now I take another break...

Erotik (strings only)

https://soundcloud.com/driscollmusick/griegerotik

Little Bird (winds only)

https://soundcloud.com/driscollmusick/grieglittlebird

Manfred (the Magician)

    The problem with Grieg's orchestration is that he follows the code of his era.  I have come across this in Tchaikovsky, Elgar, Strauss, where the melody is given exclusively to the violins or violins and reeds in unison.  This piece is pretty much all violins.   In John's version I hear horns where the orchestra comes in then bassoons and later the melody is played by the flutes.  There was something about the late 19th that gave us that melodrama or cowboy era sound.  I'm glad it quickly disappeared by the 20th century.

You mean "Evening in the Mountains"?  He clearly was working under the limitations of oboe, horn and strings, because it's published as a set of two and both have that same spare orchestration. 

https://imslp.org/wiki/Special:ImagefromIndex/36380/hfaz

Lawrence Aurich said:

Manfred (the Magician)

    The problem with Grieg's orchestration is that he follows the code of his era.  I have come across this in Tchaikovsky, Elgar, Strauss, where the melody is given exclusively to the violins or violins and reeds in unison.  This piece is pretty much all violins.   In John's version I hear horns where the orchestra comes in then bassoons and later the melody is played by the flutes.  There was something about the late 19th that gave us that melodrama or cowboy era sound.  I'm glad it quickly disappeared by the 20th century.

That's no excuse.  I play cello, which is a solo instrument.  What part of evening in the Mountains has cello on melody?  I bet the cello part is super boring.  You started with oboe solo and some pizzicato strings, even something as simple as that is better than strings only.  Any modern orchestration with these same instruments would mix it up.  Grieg is doing what was in vogue at the time. 
      But not everyone was composing this way.  The French, Ravel, Saint Saens and Debussy had a new sound.   Here is an example, Ravel's Pavane for a Dead Princess.  This is orchestrated from his piano work and almost the entire melody is played by solo instruments with strings taking a minor role.

https://youtu.be/ke7kwQ4CGCw
John Driscoll said:

You mean "Evening in the Mountains"?  He clearly was working under the limitations of oboe, horn and strings, because it's published as a set of two and both have that same spare orchestration. 

https://imslp.org/wiki/Special:ImagefromIndex/36380/hfaz

Lawrence Aurich said:

Manfred (the Magician)

    The problem with Grieg's orchestration is that he follows the code of his era.  I have come across this in Tchaikovsky, Elgar, Strauss, where the melody is given exclusively to the violins or violins and reeds in unison.  This piece is pretty much all violins.   In John's version I hear horns where the orchestra comes in then bassoons and later the melody is played by the flutes.  There was something about the late 19th that gave us that melodrama or cowboy era sound.  I'm glad it quickly disappeared by the 20th century.

OK, Lawrence, I give.  I did a better job than Grieg!

Lawrence Aurich said:

That's no excuse.  I play cello, which is a solo instrument.  What part of evening in the Mountains has cello on melody?  I bet the cello part is super boring.  You started with oboe solo and some pizzicato strings, even something as simple as that is better than strings only.  Any modern orchestration with these same instruments would mix it up.  Grieg is doing what was in vogue at the time. 
      But not everyone was composing this way.  The French, Ravel, Saint Saens and Debussy had a new sound.   Here is an example, Ravel's Pavane for a Dead Princess.  This is orchestrated from his piano work and almost the entire melody is played by solo instruments with strings taking a minor role.

https://youtu.be/ke7kwQ4CGCw
John Driscoll said:

You mean "Evening in the Mountains"?  He clearly was working under the limitations of oboe, horn and strings, because it's published as a set of two and both have that same spare orchestration. 

https://imslp.org/wiki/Special:ImagefromIndex/36380/hfaz

Lawrence Aurich said:

Manfred (the Magician)

    The problem with Grieg's orchestration is that he follows the code of his era.  I have come across this in Tchaikovsky, Elgar, Strauss, where the melody is given exclusively to the violins or violins and reeds in unison.  This piece is pretty much all violins.   In John's version I hear horns where the orchestra comes in then bassoons and later the melody is played by the flutes.  There was something about the late 19th that gave us that melodrama or cowboy era sound.  I'm glad it quickly disappeared by the 20th century.

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