Farewell for ?

OK, I'll start this off.


This piece started life as a violin/piano duet.  I wrote it for the Virtual Artist contest.  Needless to say, I didn't win, which is OK.  I did it more because I had never written for solo violin or piano, so I took it as an opportunity to expand myself. (The pieces that did win were outstanding!)

That being said, I still liked the melody and harmonic progression of the piece so I'm going to rescore the piece.

I have attached two versions of the attempt

1) a version scored for orchestra 2222.2000. strings

2) a version for a smaller chamber orchestra fl., cl., ob., bsn., hn., 2 vln I, 2 vln II, 1 vla., 2 cello, 1 bass.

I've also attached the score and rendering of the original duet as a reference to this work.

At this point, I've only worked the first section to see if the ideas had merit.  The original starts with a cadenza, and I'm not sure what I'm going to do in it's place if anything.

(I'll need to use 2 more posts to add all the files.  Sorry about that!)

Let's see where this goes!

farewell orchestra.mp3

farewell orchestra.pdf

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  • Here's the chamber version

    farewell chamber.mp3

    farewell chamber version.pdf

  • Here's the original

    farewell violin.mp3

    farewell violin.pdf

  • Hi Tim, I've listened to this a few times (the original contest entry).  There are a few of things that pop out at me. First, I hear two beginnings. Right after the presentation of the main melody, it sounds like the piece is beginning again in a new style and melody line. Next, the shift from minor to major doesn’t provide the contrast my ear longs to hear. This is due to the “A” it begins on, and also the tempo and style of this part doesn’t shift in attitude enough. Overall, the piece is a bit "A" centric, containing so many sustained “A”s, my brain could use some relief. The final repeat of the melody doesn’t feel like “going home” because that pitch has never left.

    Here’s what I’d love to try to see how it would effect the piece. I’d take out the “second beginning” (approximately measures/bars 10 through 17), and see about smoothing out the “first beginning” with current measures/bars 18-29, and place the “second beginning” at measure 30, where the current minor to major scale change is. It might work to keep the major scale. (This part also ends on an “E”.) I’m not sure what I’d do next, but that’s where I’d start a revision.

    What software did you notate this in? Maybe I could have a go with it, if I can open it on my computer.

  • Thanks Janet.  I've attached another copy of the score with the sections reblocked per your suggestions.  All I did was cut and paste, I didn't do any rewriting.  Is this what you were suggesting?

    I think my mistake was only changing to the parallel major, this caused the monotony.

    I placed a couple of rehearsal marks (for clarity only, not actual rehearsal points).

    I'm thinking based on your suggestions to change the "second beginning" at A into the parallel major (Dmaj) and then change again at B to give that going home feeling.


    I'm using Finale 2012 and notion.  Perhaps it would help if I provided an XML file.  I believe just about all notation programs can import this file type.  I'll try it, let me know if it works.

    Thanks again.

    farewell violin.xml

  • Yes, this is along the lines of what I was thinking. I can't open your file, however. It just opens a new browser window containing code when I click your link.

    But, yes, I was thinking of copying/pasting, and smoothing over where needed, but suspected there might not be too much of that needed, along with parallel major scale change.  I'd love to hear it with the changes.

  • This is pleasant. Let's hear more

  • Hey there Tim , I really enjoyed the original with the interesting

    chord changes in the middle, and with the violin leading off, it set

    a beautiful mood. Definately something solid to work with and expand.

    I only got code from the other link also.  RS

  • I tried to deconstruct the piece a bit and rearrange the parts.  This is a start on some of the ideas Janet had and I combined this with some of the ideas I had early on in the process when I first started the piece.  I chose not to use them at the time, but they may work better now.

    I chose to cut the first statement of the violin and go straight to the "second beginning" and develop it a little more.  Time was a constraint in the original entry, but I don't have to worry about that now.

    The first melody is stated later in the piano ( I guess that makes it the second theme now!:-)!)


    I'm going to add the xml file again.  In windows if you right click and choose "save target as" you should be able to download it and open it in your notation program if you're so inclined, or as Bob said, open from within the program.  It's a dirty version of the score, but the notes are there.




  • Tim, I like it, what's next, a back and forth 'conversation' between the two,  leading

    to a grand resolution of woven harmonies? ( I'm just a low budget hobbyist here,

    but for what it's worth, these are my thoughts)  RS

  • This is lovely, Tim!

    In my original notes (that I didn't share on the Forum), I thought the first version had two personalities, and my first suggestion was going to be to pick one. One personality (Folkish) was the "first beginning", which reminded me of the "Schindler's List" theme. The "second beginning" (Baroquish) was my favorite.

    This now stands alone well, or could be expanded. Nicely done.

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