• Sounds really great! I enjoyed how it developed and found it a satisfying piece of music.

    I wonder if you are aware of how difficult it would be for live musicians to perform bars 56 - 60? In isolation, the 4/4 to, essentially, 12/16 would be fine, but interspersed with a syncopated rhythm in 7/8 and the alternating semiquavers in bar 59 and I wonder if the musical idea is too influenced by notation software. I've performed in professional ensembles confounded by much less complicated rhythms.

    I know you say this is for a professional sax choir, but 'professional' is a double-edged sword of good players but minimal rehearsal time.

    The semiquavers in bar 49 are also beyond the tonguing speed of most professional sax players I know. Single-reeds are not, as a rule, expected to be able to double tongue like flautists and brass players.

  • These are legitimate points made by James although after playing it a couple of times the rhythms in bars 56-60 are quite manageable, but only because it feels right after it's been dissected. I don't think a session musician would thank you if they had to sight read it however.

    The semiquaver problem in bar 49 can be sorted without ruining the effect you're seeking - make 'em quaver followed by two semiquavers or vice versa - or mix those two rhythms between desks.

    Overall I think it's a great aural depiction of throwing feathers.

  • 56-60 should be fine for any professional jazz players, it's not a weird juxtaposition, it just looks ugly on paper. Notify them well in advance that this is the place they should check out and digest above everything else and they'll manage.

    Does the double tonguing in 49 even make sense? It feels to me that the speed is so great that if the player wants any edge to the sound, he will more or less flutter it anyway. I suppose it makes it clearer that you want exactly two "bounces" per note, though, and not to just roll with it. I don't know.

    Oh, the piece is great, by the way. I wouldn't bother to comment if it wasn't :)

  • Brandon, I can't offer any more advice other than that shared above. I don't know enough about the technicalities of the instrument for the specific score to hand. All I can add is my enjoyment of the piece throughout. I was transfixed by the sound and the journey it takes me through.
    I bet it would transpose well for other instrument sections as well. I could see a Canadian Brass style of arrangement working well.
    Nice work.
  • A sixties sound with a modern feel, I like it!  Percussion would be good for this I think, maybe even guitar and bass? Good work, thanks for posting.

  • Nice one mate!

    The part from 1.19, the part were the sax is playing. I think it's a little too empty and kind of get's rid of the nice flow I got in in the beginning. Maybe add some more layers? the rest I think is very good :)

  • Hi Brandon

    I really loved this piece - great arrangement of the parts, great blend, nice build-up. When I listened to the opening bars I thought at first you had an organ in there.

    I was thinking a lot of things as I was listeneing to it - particulary Gene Kelly, Frank Sinatra et al and those great songs arrangements from the musicals of that era - not that I'm suggestig it's derivative of that era in any way.

    Thanks, Colin

  • I can not give the technical feedback other professionals here can give. 

    I liked the progressive intricate language between the instruments.  It reminded me of the third act in the "close encounters of the third kind" movie. 

    I do agree with Brandon that in a small part it sounded like an organ and I was trying to check if it was or not. 

  • There's a lot of life in this!  To me it seems to take awhile to achieve the buildup and the two parts don't seem to be merging perfectly in terms of feel. It's almost like two different songs. Please understand this is the opinion of a hobbyist composer. Take it for what it's worth.

  • Pretty energetic with intricate rhythms. A nice piece. Saying more would only repeat comments above. I like the calm opening and the way you bring in the more wild material. 

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