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Hello everybody,

Been back from being away for a while...

Here is my flute-flute-violin trio. I can be very short about this. I got the inspiration while listening to the titlesong of Titanic (My heart will go on). Don't ask for the connection between the two...

Here it is.

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Erwin. This is really lovely, very enjoyable.

My ear was asking for a harp to be added - what do you think? Maybe the perfect four voices for what you have here?

Hi Joseph,

Thank you for the compliment. I am still learning how to write for a harp, so I am working on that instrument right now.

May be in a later stadium! :)

Very nice piece, quite charming, I enjoyed it.  The choice of instruments is interesting and as Joseph mentioned it's tempting to suggest additional instruments but then your lite and fluffy texture might not be the same.  The sound is good, I personally am hearing more echo than I tend to prefer, but that's my opinion only.  You might consider using the 8va trick to avoid all those ledger lines for the high notes. Good job!

No, we don't use 8va for flutes or violins.

Ingo Lee said:

Very nice piece, quite charming, I enjoyed it.  The choice of instruments is interesting and as Joseph mentioned it's tempting to suggest additional instruments but then your lite and fluffy texture might not be the same.  The sound is good, I personally am hearing more echo than I tend to prefer, but that's my opinion only.  You might consider using the 8va trick to avoid all those ledger lines for the high notes. Good job!

I understand violins and flutes prefer ledger lines in their parts, but wouldn't 8va be acceptable in a score where space may be at a premium? In a score of this size of course it wouldn't matter.

Rodney Carlyle Money said:

No, we don't use 8va for flutes or violins.

Ingo Lee said:

Very nice piece, quite charming, I enjoyed it.  The choice of instruments is interesting and as Joseph mentioned it's tempting to suggest additional instruments but then your lite and fluffy texture might not be the same.  The sound is good, I personally am hearing more echo than I tend to prefer, but that's my opinion only.  You might consider using the 8va trick to avoid all those ledger lines for the high notes. Good job!

No, you can just adjust the spacing of the staff systems.

No you want the music to reflect what the parts are. Fine makes like 8va can be hard to read from the conductor point of view. Additionally, in a chamber piece like this you have plenty of room to space out the staves to prevent clashing. Making it fit is up to you as the composer. Like Project Runway's Tim Gun always say, "make it work."

btw Ill take a listen to this soon. 

Ingo Lee said:

I understand violins and flutes prefer ledger lines in their parts, but wouldn't 8va be acceptable in a score where space may be at a premium? In a score of this size of course it wouldn't matter.

Rodney Carlyle Money said:

No, we don't use 8va for flutes or violins.

Ingo Lee said:

Very nice piece, quite charming, I enjoyed it.  The choice of instruments is interesting and as Joseph mentioned it's tempting to suggest additional instruments but then your lite and fluffy texture might not be the same.  The sound is good, I personally am hearing more echo than I tend to prefer, but that's my opinion only.  You might consider using the 8va trick to avoid all those ledger lines for the high notes. Good job!

It is very nice to see how you have grown as a composer. I hear a conversation between the instruments, I hear a clear form. The piece even has direction which is very nice. The themes are well developed. Where I find fault the most however is the harmonic language. It seems to want to straddle the line between Locrian mode and C major. You create these very strong endings on B a lot and I crave for a chord or at least a G around it to make it the half cadence I think you want. You have movements where the line is harmonized but those are far and few between. Another thing I would look at are the extreme range contrast you have. Its nice but a little over used and I dont hear the goal they are trying to achieve. Notationally, you should have put slurs on some of those fast passages as they will not sound as clean in real life as they do now. 

Other than that, it is pretty good. 

Hi Tyler.

Thanks for the advice, I will take a look at it again. And thanks for the compliment.

It is possible in my enthousiasm I forgot to slur... I will take a look at that, too.

Greetings Erwin,

This piece is nice and airy with good melodic content. Thanks for sharing.

Very best,

Larry Elliott

Thank you. Looks like I am capable of writing light-hearted pieces after all... :P

Sorry for the late response, I'd actually started listening to this last night (or perhaps the night before) but got interrupted by you-know-who, so didn't get around to it until now. Anyway...

First, the good.  Variety!!! Beautiful, beautiful variety!  I love how you mix diverse rhythms into your melodies and playfully bounce them between the instruments.  Your signature "Erwin rhythm" did show up in a couple of places (I think you know what I'm talking about), but there is enough variety in the rest that I'd say it's forgiveable. :-P   It's great that you're experimenting with new rhythms and more variety in your melodic lines.

Now, the not-so-good, if you don't mind.  While there is quite a lot of variety as far as rhythms go, I found that the music doesn't actually say very much.  It sounds like a pair of birds fluttering around a squirrel, going around in circles, which is cute but can only go on for so long. After the first 30 seconds or so, you've already said all you wanted to say, and it left me wondering what the rest of the music was about.  They seem to be just a rehash of what has come before -- of course, said in a variety of different ways, but essentially saying the same thing nonetheless.  In this respect, I think your War Symphony was more successful, because the music actually had a lot to say, even if technique-wise there wasn't as much variety or interesting rhythms as you have here.

Because of this, it was difficult for me to discern the structure of the music. You wrote in quite a few repeats, which in themselves aren't a cardinal sin or anything, but when the various repeated sections don't have sufficient contrast with each other, it makes the boundary of the sections unclear and makes the music feel static and unmoving, not heading anywhere in particular.  It would be more effective if you had more contrast between sections -- one bouncy and fast, followed by something slow and heavy, followed by something fast and furious, then slowing down to something calmer and grander, etc.. You know what I mean.  The contrast between sections will give the music a push forwards, whereas if all the sections are more-or-less the same, there is no momentum and the music feels like it's stuck in a loop.

Of course, having contrast just for the sake of contrast may not make things any better either... I think ultimately it comes down to my point about what the music wants to "say".  If it only has a little to say, then it's better to make the piece short and to-the-point, otherwise it feels repetitious and dragging on.  If it has a lot to say, then you could make the piece longer and it would work -- because now you have a real reason for making it longer that isn't just because you want to make it longer.

Harmony-wise, I agree with Tyler... but again I think it should solve itself once you have something that the music "wants to say".  It's either a story, a character, or some kind of musical idea, something that gives a stronger direction to the music and that would allow for more dramatic tension and momentum. Once the momentum is there even if you write entirely in Locrian mode it will still "work". :-)  But if the music is unsure about where it's going or what it's trying to say, then even the best-written cadences would sound dull.

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