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It's fairly slow, peaceful mostly, chromatic (not atonal).

The orchestra is small - no flutes, triple double reeds, triple clarinets, brass limited to 4 horns + trumpet.

Any comment good or bad would be truly appreciated, and thank you for listening if you can give it time.

Please play it quietly. It rarely goes over mf. Thanks.

I've put together a basic short score: strings/woodwind/brass which as usual for my daw is a bit iffy. Haven't put in the dynamics but they're self-evident. The contralto shares the strings staves.

I omitted the percussion as it has just a couple of notes.

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Well I did play it quietly Dane, but then since I liked it I turned it up and I can say that your piece works well both ways.  This is a different flavor that you've given us, not much dissonance and an interesting instrument combination, a good choice on both counts. The peaceful beginning really helps highlight the flourish at the 2 minute mark for a nice contrast.  That run would have blended in much more in one of your more restless pieces. And then you have a smooth arc back to the mellow side, well done. I would like to hear some more extended work from you, perhaps a suite posted here one piece at a time? You'd probably have to use SoundCloud or Youtube for the full piece I guess.

I like the double reed sounds, they often get buried and they are nicely featured here.  I think you've said that you enter notes into the piano roll view in your daw,  I never really tried that other than the occasional edit, are you able to paint with broad strokes at all?  I picture you entering small dots which gives great control but is that always the case?

Hey there, Ingo,

Thank you for listening and your commentary. It's always appreciated.

Yes, when ready I draw the notes in the daw each of the duration I want - how it has to be as different lines often have different dynamics and hairpins. In this piece the double reed instruments seemed warmer than flutes.

To be honest I got fed up with another thing I was working on. One morning I opened the file and thought "Nope, I've had enough," and put it in for recycling. Land-waste would probably have been better. This latest piece emerged probably because I needed musical peace and quiet! 

As for more extended work, I'm trying tor the last movement of a symphony started over a year ago. I posted two movements here but couldn't seem to get into the third as the work is in a mode awkward to work with. I cheated a bit but want to be strict in this last movement. So it's a bit of a technical exercise but quite refreshing!

Let's see how it goes.

Again, thanks Ingo.

Talk later.

.

Hello Dane,

It's always fine to start a piece with an (open) inversion of the C# 7 chord.

The truth is that this piece sounds great !!

As you already have us used to with your previous works.

But maybe (for my taste) this sounds too good. All very consonant and with very good harmony. It reminds me a lot of the music of Romanticism. Of course not those works with great load and instrumental power, but yes those lighter works such as some Gustav Mahler "lieds" with symphonic orchestra, such as the second movement of "The Song of the Earth". Of course, in this one, in addition to the Alto, a Tenor also appears and has more instrumental load, but uses the resources sparingly with few instruments playing at the same time, obtaining very light textures and the way the music sounds (chromaticism with tonality and good harmony ) I think it is quite similar to your work; "salvando las distancias", we say in Spanish, translating it into something similar to "closing the gap between them".

By the way, this work by Mahler is made up of six movements and, although each one is a different lied, they make up a symphony structure. Perhaps it could serve as inspiration to compose this longer work that Ingo suggests you and perhaps, also, it could serve you to achieve a complete symphony and overcome the situation that your previous unfinished symphony has created for you.

Returning to your piece, you maintain your high level, to which you have accustomed us, in terms of the production of musical performance, demonstrating your mastery of the samplers and the DAW.

In short, I must congratulate you (once again) because you are capable of creating high quality products.


Saludos !

Hello Dane,

Another beautifully colored work! Dynamically well balanced. The Alto works well. (Is there a sniff of Gershwin in there?)
Woodwinds sound great! Horn section not convincing but the trumpet sounds very good. What reverb are you using? I really like it!

Very well done Dane, you have lots of imagination! Thanks for posting!

Well, thank you for your most generous comments and listening. 

Ha, yes it starts on a 3rd inversion! which I suppose should have been resolved a little better.

I went more consonant probably because I was having problems with another piece I abandoned with frustration. I should stick to keys which are far easier to work with.

Requiring a voice was influenced by the rather beautiful second movement of Nielsen's Third Symphony although my piece sounds nothing like Nielsen - I hope not anyway!  I wouldn't have the temerity to compare myself to a composer of the stature of Nielsen!

I still have a long way to go with the daw and sampled orchestra but I suppose I start with a view of 'suppose I was in front of an orchestra' - As much about how notes are played as what notes. It's more than just notes on a score. Thankfully the sample player allows enormous scope for adjustments. 

And may I say how flattered I am by your closing remarks. Be sure, they will not allow me to be complacent.

Again, many thanks.

Ramon Capsada Blanch said:

Hello Dane,

It's always fine to start a piece with an (open) inversion of the C# 7 chord.

The truth is that this piece sounds great !!

As you already have us used to with your previous works.

But maybe (for my taste) this sounds too good. All very consonant and with very good harmony. It reminds me a lot of the music of Romanticism. Of course not those works with great load and instrumental power, but yes those lighter works such as some Gustav Mahler "lieds" with symphonic orchestra, such as the second movement of "The Song of the Earth". Of course, in this one, in addition to the Alto, a Tenor also appears and has more instrumental load, but uses the resources sparingly with few instruments playing at the same time, obtaining very light textures and the way the music sounds (chromaticism with tonality and good harmony ) I think it is quite similar to your work; "salvando las distancias", we say in Spanish, translating it into something similar to "closing the gap between them".

By the way, this work by Mahler is made up of six movements and, although each one is a different lied, they make up a symphony structure. Perhaps it could serve as inspiration to compose this longer work that Ingo suggests you and perhaps, also, it could serve you to achieve a complete symphony and overcome the situation that your previous unfinished symphony has created for you.

Returning to your piece, you maintain your high level, to which you have accustomed us, in terms of the production of musical performance, demonstrating your mastery of the samplers and the DAW.

In short, I must congratulate you (once again) because you are capable of creating high quality products.


Saludos !

And thank you indeed for listening and your most kind comments.

Ahh, Gershwin. No surprise that you sensed hints of him. I have much admiration for his harmony and ideas; play a few of his songs (although some are remarkably difficult so I better say I "try" to play hie songs.) He does pervade my improvisations.

Yes, the horns.... Hoping to preserve a mellow sound I used Wagner Tubas along with a Flugelhorn. If I get a few minutes I'll swap them for French Horns and a Bb Trumpet and hopefully it'll sound better. 

Again, thanks.

Dane

Joost Visser said:

Hello Dane,

Another beautifully colored work! Dynamically well balanced. The Alto works well. (Is there a sniff of Gershwin in there?)
Woodwinds sound great! Horn section not convincing but the trumpet sounds very good. What reverb are you using? I really like it!

Very well done Dane, you have lots of imagination! Thanks for posting!

Have you thought about cleaning up the score for real life performance Dane?

Dane,

If I may I would like to take the liberty to speak plainly about these several pieces of music that you have posted here in the last couple of weeks. Though they are written with skill what I find in your music after listening to many of your compositions in this site, is the fact that you concentrate too much on stylistic frames without wanting to depart from it.

What do I mean?

Every piece of music needs to be its own and has to stand on its own merit and distinction. Yes style is important but 10 different compositions of the same composer shouldn't sound like one big composition. Though the composition can be beautiful skillful and enjoyable it becomes repetitious especially in style. What I want to hear is absolute differences in different compositions. Like stories, they should be different entirely and not interwoven with stylistic frameworks.

Even within the same Genre, Chopin for example was able to keep all of his nocturnes as separate worlds and entities while his style was simply caressing all of them in the background it was not the dominant factor of his music.

What I would like to hear from you is to create an emphasis on distinction and keeping the style a little distant as a suggestive factor and not a dominant one.

Hope you'll find my comments useful,

Regards,

Saul

Hi Kevin,

Ha, yes and it'll need some cleaning up. I'll set it aside for a while until among other things I turn out, to decide if it might be worth submitting to the County Orchestra, probably not. Our town orchestra couldn't play it!

Pre-the lockdown I hoped to have work performed in conjunction with a dance group. That seems to have been scrapped altogether now as entertainment venues are still so restricted. They were happier to work to virtual performances above all because the music would be consistent for rehearsal. So...no need to worry about scoring hygiene! 

Kevin riley said:

Have you thought about cleaning up the score for real life performance Dane?

Hi Saul,

Sure, please talk plainly. 

I see what you mean but I really have two choices - write as I feel - or give up. As an amateur I take pleasure in composing but also recognise that only a few of my pieces may make it to the stage of writing out a score and possible submission. One of the values of this site is that when I receive comment I can gauge at least something about reception. It helps.

I also hold a slightly different view in that composers are often recognised by a consistent if developing style, but in no way does that diminish the value of your comment which I have to admit is most perceptive of my pieces. 

However, I feel that I do keep in touch with other genres. Recently I posted some light music which arose from frustrations with the style you're speaking of - for the very reasons you state. I seemed to be composing the same piece again and again. Ok, one has to develop but I agree there comes a point to say 'enough is enough!' That's how it felt. Hence the piece for small orchestra on the site now that comments suggest something closer to neo-classicism. 

However, the next work is more formal - modal, to complete a symphony. It brings up new problems - can a three movement work in a single, obscure mode hold together? Won't it get boring? We have to see.

And then there was my fake Mozart in sonata form but few people commented...maybe they thought I was being derisory. 

But I much appreciate your comment and thank you.

Bests,

Dane.



Dane Aubrun said:

Hi Kevin,

Ha, yes and it'll need some cleaning up. I'll set it aside for a while until among other things I turn out, to decide if it might be worth submitting to the County Orchestra, probably not. Our town orchestra couldn't play it!

Pre-the lockdown I hoped to have work performed in conjunction with a dance group. That seems to have been scrapped altogether now as entertainment venues are still so restricted. They were happier to work to virtual performances above all because the music would be consistent for rehearsal. So...no need to worry about scoring hygiene! 

Kevin riley said:

Have you thought about cleaning up the score for real life performance Dane?

Dane,

Could I have a go at orchestrating it?

Kevin

Dane Aubrun said:

Hi Kevin,

Ha, yes and it'll need some cleaning up. I'll set it aside for a while until among other things I turn out, to decide if it might be worth submitting to the County Orchestra, probably not. Our town orchestra couldn't play it!

Pre-the lockdown I hoped to have work performed in conjunction with a dance group. That seems to have been scrapped altogether now as entertainment venues are still so restricted. They were happier to work to virtual performances above all because the music would be consistent for rehearsal. So...no need to worry about scoring hygiene! 

Kevin riley said:

Have you thought about cleaning up the score for real life performance Dane?

No.

As you've probably already downloaded it, bear in mind that anything I post here is already registered with the PRS.

Best to write your own music to orchestrate.

Cheers.

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