New Composition

January 6, 2019, 8:39 PM · Looking for comments on this as something that could be played in an orchestra.I can sort notation on it.
A few things I took note of are a few attack issues by the brass in places. There seems to be one misplaced bell hit I didn't catch in time.Not sure if that will be noticed.
There is one small violin solo in it and a few flute solos.
Comments welcome from anyone but especially composers.


Replies (8)

January 6, 2019, 8:49 PM · Isn't that a little on the edge of "space music" (i.e., fairly slow and boring)?
January 7, 2019, 8:39 AM · What do you mean by "space music"? Are you referring to ethereal? Maybe. I haven't looked at it that way.
By that measure probably half of all classical music is slow and boring:)

Don't mess with me Paul. I'll give you something no one can play lol.

January 7, 2019, 9:00 AM · I admire anyone that can compose! I enjoyed listening to this. Nice job!
Edited: January 9, 2019, 12:09 PM · @Mary Dixon, Thank you for listening and for your comments!

I have an alternate version of this.
Can someone tell me which they like the best?I tend to favor the first version. A group of composers I write with suggested I soften the track and only add energy toward the end. The original posted here has more energy at the front.1st version posted.Big difference at 1:04.The theme doesn't carry to the end.
This is a private track-

January 9, 2019, 12:10 PM · Paul is this better? The other one was a bit low energy.Changes noted above^^
January 9, 2019, 6:00 PM · Timothy, it is way too easy to write silly, even foolish, comments in response to listening to a piece of music. But, what the heck.

I like the second piece better than the first, because it has some holes in it. And holes let in air, some contrast. (I think the holes need more preparation, but plenty of music has unprepared holes. Beethoven!)

Contrast and development are primary tools for composers. Use these tools deliberately, with purpose and intent, with technique and artfulness.

I think both tracks have everything, including the kitchen sink, in them -- from the viewpoint of instrumental timbre. Mostly, they survive on rich orchestral texture.

Contrast. Develop.

Work backward from the piece you present here. Dredge out some motifs, pass each one of these off, each to one instrument, and build, using melodic development techniques, modulations, contrapuntal techniques, separate 32 bar or even longer "prelude" sections.

Gradually weave your developments of your extracted fragments together, until you "arrive" at the piece you have already written.

Your audience will think you are very clever, bringin all these motifs together in a big finale.

Try writing a theme for, say a flute, and then accompany it with a violin. Build the piece with just these two instruments, for at least two minutes. It is actually quite challenging, much more difficult than having the flute accompanied by cello, for example. The cello introduces more contrast, just by being a cello, and being capable of more immediate, perhaps superficial, contrast.

Using this approach will expose your skills in developing music, in consciously controlling and building the whole composition.

Have available to yourself all of the techniques and strategies of developing music (composers have studied these for hundreds of years), and all of the avenues of achieving contrast (dozens of these, some subtle, some brutal), and use these selectively, as you prefer, guided by the needs of genre. The reins of genre.

See, I can be as silly, even foolish, as anyone else, when I open my mouth.

You have an obvious flair for creating music, and don't stop.

Don't believe everything you read on composing music, but read it anyway.

Go well, Timothy.

January 9, 2019, 8:14 PM · I'd like to hear a solo, duet, or trio with this as accompaniment - Maybe even vocal?
January 10, 2019, 1:31 PM · @Graeme Webster, I appreciate you taking the time to comment on this. I wanted to hear a perspective from a composer.This is the kind of information I was looking for.

I have been told similar.Someone suggested that I reintroduce the beginning theme which I did in the second version, however I don't believe I broke it down as much as I could have, or developed it to the fullest.In beginning from the sparse while working motif into the more complex.The theme could have been simplified and redeveloped in another way at the end without loosing the form instead of this more consistent version.
I enjoy the smaller scale intimate arrangements. I would enjoy doing as you recommend. Development is something I plan to work on more.This is something I will determine to do.I think I have contrast down, however I would like to revisit it regarding your helpful comments in how to use it better. Thanks again for this. I will take it all into account. Much appreciated!
@John Rokos, Good ideas.Maybe this would help to fill it out better.Since we are on a violin site, I'm guessing you are thinking maybe violin, viola and cello? Probably too much going on in the 1st version. The second one though, I can hear it.Thank you!

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