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Completed Works: Junior / Re: Snoqualmie Mist for Strings
« Last post by Jerry Engelbach on Yesterday at 05:07:25 PM »
I tear my hair out trying to balance the sound of the various instruments in GPO5.

I've given up trying. I just don't get it. I find the documentation in this area to be worthless. I just put the markings in the music and just go with whatever Finale generates from that.
Finale documentation has always been poor. Glad (in a warped way) to know I'm not the only sufferer.
 
Cheers,
Jer
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Works in Progress: Junior / Re: Old Lullaby Revisited
« Last post by sandalwood on Yesterday at 03:32:03 PM »
To echo what others have said:  That is a truly beautiful work.

I do agree with Jay, though.  I find a return to earlier material gives a satisfying feeling of completion in music; it might be a nice touch in your piece.   That, of course, can be made difficult if the text dictates another path.

Thanks a lot for the kind remark, Pat! I'm glad you liked the piece.

I do feel really sorry, on the other hand, that you have to kindly warn me on the issue of form each time I post a piece :) I guess it is time I start to consider playing by the book

Thank you for the feedback, Pat!
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Works in Progress: Junior / Re: Old Lullaby Revisited
« Last post by sandalwood on Yesterday at 03:14:41 PM »
A beautiful piece with impeccable part-writing, Reha.   The msuic seems to do a long fade toward the end - perhaps you could restate an initial section to create a stronger and more satisfying close. The tried and true ABA structure is always a good way to go.

Jay

Thanks for the kind words, Jay! Flattered to hear you liked the part-writing. A good part of it remains intact from 2012 and after all the embarrassing overlooked consecutives, etc it is refreshing to hear there is a positive side to it, as well.

As to form,  you've put your finger where it aches. The original lullaby relied on three repeats of a "refrain" (corresponding to the passage mm.15-19  in the posted revised lullaby) to hold it together. Abridging the original during the revision, I agonizingly decided to remove, among other passages, the repeats and  hesitantly chose to rely on the  self-unfolding continuity of  the long melody line ...an optimistic confidence (actually I was neither optimistic, nor confident)   in the adequacy of the  strength of a "grande ligne".  First, I was intending to close the piece with one repeat of that passage (and a very short coda), then gradually the novel concept of mimicking the transition to sleep, instead, gained  over. Hence the shaking of the tonal ground first, to signify blurring of the mind, followed by cadential gestures with a  rapid decline in tempo and finally a forever descending bass line, descant etc to "describe" the ultimate slide. That these could still be done with an A' section, as well, did cross my mind and bothered me a lot but perhaps I took the easier way or perhaps the riskier, saucier way.

Thanks a lot for the very apt remark! You are, of course, right about the safety of the ternary. Feedback taken and appreciated. Sorry for the long and whining reply :)
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Works in Progress: Junior / Re: Old Lullaby Revisited
« Last post by Patrick O'Keefe on Yesterday at 02:19:57 PM »
To echo what others have said:  That is a truly beautiful work.

I do agree with Jay, though.  I find a return to earlier material gives a satisfying feeling of completion in music; it might be a nice touch in your piece.   That, of course, can be made difficult if the text dictates another path.
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Works in Progress: Junior / Re: Old Lullaby Revisited
« Last post by whitebark on December 12, 2017, 08:34:32 PM »
A beautiful piece with impeccable part-writing, Reha.   The msuic seems to do a long fade toward the end - perhaps you could restate an initial section to create a stronger and more satisfying close. The tried and true ABA structure is always a good way to go.

Jay

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Completed Works: Junior / Re: Snoqualmie Mist for Strings
« Last post by RJB54 on December 12, 2017, 02:49:31 PM »
I tear my hair out trying to balance the sound of the various instruments in GPO5.

I've given up trying. I just don't get it. I find the documentation in this area to be worthless. I just put the markings in the music and just go with whatever Finale generates from that.
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Works in Progress: Junior / Re: Old Lullaby Revisited
« Last post by sandalwood on December 12, 2017, 01:43:21 PM »
Thanks a lot for looking, Jer! I infer it does not exceed the limits of an admissible quotation, at the very least.

Still tempted to ask for forgiveness :)
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Completed Works: Junior / Re: Snoqualmie Mist for Strings
« Last post by Jerry Engelbach on December 12, 2017, 01:17:39 PM »
Actually, all that I did was to bump up the viola playback level a bit - for some reason Sibelius was setting it to a low level initially.

Thanks for the kind comments - I'm surprised how well the piece is turning out.  I have to credit this forum for encouraging me to study 20th century harmony.

Jay
Ach. The vagaries of sound levels in digital samples.

I tear my hair out trying to balance the sound of the various instruments in GPO5. I don't want to do it with unnecessary dynamic markings in the score if it's possible to find the natural relative levels between them.

This forum is a new education for me, too.

Cheers,
Jer
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Works in Progress: Junior / Re: Old Lullaby Revisited
« Last post by Jerry Engelbach on December 12, 2017, 01:07:34 PM »
Thanks, Reha.
 
I assume most people are as ignorant as I about that piece and won't recognize the reference to it.
 
Besides, the voicings are not at all esoteric and may very well appear in other pieces inadvertently.
 
Just ask forgiveness and all will be well.
 
Cheers,
Jer
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Works in Progress: Junior / Re: Overture to "Einstein Doll"
« Last post by Jerry Engelbach on December 12, 2017, 01:02:16 PM »
Thanks, Jay. When I used it for the play, I only recorded it on the piano.
 
This is my work file. I don't ever expect it to be performed live.
 
Tell the truth, I haven't learned the idiosyncrasies of the harp at all, including pedaling. I'm sure my arpeggios are unplayable as written.
 
But you have a point: If I'm going to learn orchestration, I should get it right, whether it's performed or not.
 
Cheers,
Jer
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