Etude for Orchestra No. 1

This is the first of 10 Etudes I plan on writing for orchestras of different sizes. These Etudes are much of a practice in techniques for me as it is for the performers. This etude was about development. Motivic development, set class development, and theme development.

This is the first draft so comments to improve the piece are greatly appreciated. 

Etude No1.pdf

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  • My Stravinsky detector picks up echoes of The Rite of Spring. Good use of odd time signatures, off-beat rhythmic accents. Good balance of instrumental give and take. It has the feel of a concerto for orchestra, although obviously this is a brief study. The "climax" section or tutti seemed a bit cluttered.

    Do you intend to expand this, or is it just a study? It definitely has some worthwhile elements to preserve and use elsewhere, if this is just a study.

    What strings are you using? The violins sounded very nice.

  • I wouldnt say I was going for a Stravinsky Rite of Spring feel. However, my musical language has been heavily influenced by Stravinsky in general. A lot of this traits; such as rapidly changing meters, bi-tonal section, dramatic texture and volume changes with no transition, and aggressive off beat rhythms have made it into my own musical language. 

    As far as what this study was in, this Etude was all about motivic development. There are only two themes but those themes are developed and re-used and abused through the entirety of the piece. There are also two set-classes used through out the piece repeatedly; set class (016) and (028). These make up a lot of harmonies of the piece and themselves developed time and time again. Also, the themes use invented scales and keys to add a touch of tonality in contrast to the mostly atonal sections. 

    michael diemer said:

    My Stravinsky detector picks up echoes of The Rite of Spring. Good use of odd time signatures, off-beat rhythmic accents. Good balance of instrumental give and take. It has the feel of a concerto for orchestra, although obviously this is a brief study. The "climax" section or tutti seemed a bit cluttered.

    Do you intend to expand this, or is it just a study? It definitely has some worthwhile elements to preserve and use elsewhere, if this is just a study.

    What strings are you using? The violins sounded very nice.

    Etude for Orchestra No. 1
    This is the first of 10 Etudes I plan on writing for orchestras of different sizes. These Etudes are much of a practice in techniques for me as it is…
  • Ah, Ray is back in form. for a while it seemed as if he might be getting soft. Anyway, I did think the high violins sounded decent. It's all relative, and relative to what I have for strings, at least the violins sounded pretty good. I still would like to know what they are.
     
    Raymond Kemp said:

    I have no doubt there are thousands of trained ears able to appreciate or even enjoy such work however, I am one of the millions with "sissy" ears who simply hear two or three different tunes going in different directions for no apparent reason other than torture. Any development involved seems to me nothing more than for it's own sake.

    Tyler, I know you are not concerned about the quality of the samples you've used so I'm not addressing the following comment at you but, how anyone else would think any of them sound good is beyond me.

    Sorry Michael, but the first rule of making something sound good is knowing when it doesn't.

    Etude for Orchestra No. 1
    This is the first of 10 Etudes I plan on writing for orchestras of different sizes. These Etudes are much of a practice in techniques for me as it is…
  • I liked the concept of he etude for orchestra and the way that it built up by the end.
    I wonder if those diminished 5ths double stops for violin are almost impossible. I know that stopped perfect fifths in strings are very rare. Maybe a string player could comment here.
  • Diminished 5th is easy. Perfect 5th much harder (need to use the same finger on both strings, which gets tricky depending on the position and what kind of strings you use).

  • I like the way you have developed the melody through the orchestra.

    1:18 - HEMIOLA....I am a hemioliac.....

    Sounds like thise piece can develop into something more!  Keep me posted!

  • I loved your touch of surreal fantasy, creepy and inspiring, maybe it is true that it's influenced by Stravinsky, but If i didn't read the comments I wound't have notice.. and there is absolutely nothing wrong with that, Stravinsky is inspiring and genius and it takes for someone to reach a level to be compared to Stravinsky years of experience and strong ears since it's usually hard to comprehend by regular ears..
    I can imagine this going with real instruments, and I think it will sound awesome..
    looking forward to hear the progress of this this score..
    Great job and Good luck!
  • Tyler,

    Once again, a very fine piece. 

    You refer to set classes used in the piece.  Would it be possible for a "cliff note" version of what these are for those of us who may be unfamiliar?

    Regardless of the technique used, a very enjoyable listen and I too look forward to the future etudes.

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