•  Hi Dane,

    This is a fantastic piece, wonderfully orchestrated. Musically, I wouldn't change much. I would only give it a little power boost to augment the drama and some more depth (room acoustic). But the instrumentation is perfect and very functional. I like the composition!


    • Hey Jos,

      Many thanks for listening and your generous comments. I have tried to experiment by setting the winds and brass a little further back than the strings by increasing the reverb...which doesn't help too much with the acoutic of room. But I'll try to do more. If I get back to that operetta thing I started it will need the solos closer to the front. Unfortunately the Vienna Instruments player doesn't allow mic positioning so I have to falsify a voice to the front with almost no reverb.

      Again, thanks. 

  • Hi Dane,

    It is an important work I believe.  

    The rhytmic structure is noteworthy.  BAr 70 and afterwards the strings begin to avoid the initial down beat.  Before that there are a few initial down beat beginnings at the strings.  Interesting enough the accompaniment is always avoiding the initial down beat.


    One objection...  You avoid/manipulate systematically the initial down beat BUT the second beat is always there and there are many cases you emphasize it.  Is it what you intended I do not know...  It gives a continuous upbeat jumping feeling which may be what you intended as an artistical message...

    Great work.

    I feel I began to understand you better now (after a lesson with my new teacher).



    • Hey, many thanks Ali.

      Thanks for listening and your comments - much appreciated.

      About rhythm, I tend to write free flowing, avoiding a constant beat so the music comes out in phrases of all different 'sizes'. In one respect I'm lazy - usually write in 4/4 throughout instead of changing time signature almost every bar. I have written with time sig changes. But to me it looks clumsy. No doubt that opens me up to criticiam - many would say it's harder to work out what's going on with a constant 4/4 throughout.

      I've even considered bar lines only at the end of a phrase or something.  I may try that out once I can work out how to do it in the notation software I use/trying to use. Recent events in the world kind of put me under creative pressure so I've been working quite hard to get a few pieces done.

      But again, thanks for listening, inspiration and encouragement.

      And bests for your own work.




  • I can see immediately that you know what you're doing here -- very accomplished orchestration and rendition (VSL?). There is a somewhat uneasy feeling about the whole piece but but I'm having some difficultly in pinning down concretely what it's trying to express. Perhaps that's the whole point that the piece isn't too sure either. Or that the idiom is not close to any composer I'm particularly familiar with so I'm having more difficulty than usual and I'm unfit to comment. Do you tend to write short works like this or more often go for longer ones like me?

    • Hi, David,

      Thank you indeed for listening through and your generous comments. Aha! You guessed it - VSL. I'm forever trying to match my work with VSL's demo renderings but alas they have more technical equipment, experience and better computers than me. I spend a fair bit of time on 'balance', pretending I'm in front of an orchestral asking players to do whatever to achieve the aim. 

      No surprise about uneasiness. Events unleashed some kind of emotional reaction about which I'm not too sure either. There was no resolution. I usually wait a while before declaring a work finished so I can do some final touch ups. In this case I didn't and for once, I don't think I'd change much if I looked at it again. I easily get caught up in 'atmosphere' so I suppose most of my stuff is surreal. Never 'programme music' attempting to mimic aspects of the subject in aural terms.

      Yes, my efforts are short, aim for about 5 minutes. I've found that people are often ready to give up 5 minutes to listen and local orchestras are sometimes looking for 'fillers' from local composers, so there's more chance of getting something played. Likewise at musical appreciation groups. It can be frustrating and sometimes 5 minutes is too limiting. But I very much doubt I could put together a half-hour work like your latest presentations!

      Again, thanks, David. 

      • I'm afraid I couldn't possibly express anything in 5 minutes in an orchestral work, though I'm perfectly well aware that the chances of anything over 10 minutes in particular being played by just about any orchestra, far less a professional one, are minimal without contacts. My own take is that if listening to just a couple of minutes of a new work is promising, then I'm quite happy to take half an hour or whatever is required to listen to the rest. But that doesn't seem to be how managers looking for possible things to play by local composers operate (which includes competitions which nearly always stipulate short maximum durations). And these days, that is probably understandable.


  • Very mellow and accessible piece Dane, and a beautiful sound as usual. The phrasing is your own and I don't hear tonality really but there is very little dissonance. I could go out on a limb and say that with more regular phrasing this would be romantic what with the flourishes and short solos and sections in harmony.

    More expanded instrumentation than what I remember from you, the vibes, harp and percussion adding spice. Quite a large group here but no tutti; so a shifting variety of horizontal colors is a nice device. Large group tutti is a blur on recordings to my ear anyway, perhaps VSL has an advantage there? I suppose some things just must be heard live, Ligeti for instance.

    Your dynamics are nicely organized here, are you still using just velocity x fade? And the panning on the VSL player as opposed to doing it with Reaper?

    Nice work, thanks for posting.

    • Hi Ingo,

      Thanks indeed for your generous comments and for listening. Glad it made sense.

      There are moments of tonal centre in it - they seemed to evolve naturally perhaps because it's quite thin textured. Perhaps also because I've talked to a few players across time, I've come to look upon all instruments in their own right. And at least one of the awakenings was your use of the solo piccolo. So I rarely get into tutti except when I want to make more noise. If I need loud it's brass and it's a sound I love so I tend not to detract from the timbres with reinforcements...sometimes, not often. Every instrument gets an equal chance to me, adding its bit as need arises.

      As these scores are unlikely to be performed by a fully professional orchestra I hope I get away with it!

      Again, many thanks.


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