Compose Forums

Thanks much, Art.
 
I originally wrote the tunes over a period of many years, to be played as jazz. But my jazz tunes don't necessarily sound "jazzy," so recently I enjoyed putting them in an orchestral setting. Michel picked up on their jazz origin.
 
Four of them are topical. Ida Irene was written for my mother. Her given name was Ida, but she preferred to be called Irene. Annie One was written for my wife, Ann Decker. Last Day was for my co-workers at a job a was leaving. November is my impression of the month so named.
 
Pavanne for Pátzcuaro was not really written for Pátzcuaro (the town I live in), but I thought it would make a good title. Pilgrim's Progress was written with nothing particular in mind, but like the previous tune, I titled it later, in memory of a fellow ex-pat who died a couple of years ago.
 
Cheers,
Jer

I feel no need anymore to justify my existence as a composer by trying break new ground or any other such silly concepts. I just want to communicate with my audience in an honest fashion.

It's a sad commentary on our times that some view breaking new ground as more important than honest communication with the audience.  We in the audience definitely appreciate your approach ... and the music that comes from that approach.

Sorry I didn't clarify my comment on structure. The overall structure didn't work for me because the piece seemed like a series of nice ideas that were not connected. Perhaps rearranging the order to improve any transitional material, and then adding transitional music might work. I'd be careful here, because with the many elements you've put in the piece, adding transitions might make for a very, very long final work.

Art

I've had hearing aids for a bit over 5 years now.  Previously it was almost impossible for me to carry on a conversation if thee was any significant background noise.  With the hearing aids, conversation became possible once again.  Music, however, did not fair as well.  Loud orchestral passages (at live performances - no volume control) often produce distortion; I often have to turn my hearing aids down.  That's understandable but frustrating. 

Less understandable: sound from the speakers at my composing desk - small but reasonable quality studio monitors - now cause distortion at any volume.  My headphones do not.  That makes no sense, but I accept it; I now always use the headphones.

I would never go back to my pre-hearing aid days but hearing aids are not a panacea.

Terence: Yeah, it is rough, but there's a lot here that could be molded and polished. This is for concert band? You have something against alto saxes? There are many spots where I'd include alto I and alto II. Also, at B, the oboe and flute will be drowned out by the trombones. I assume you'd rework the score a lot. I'd probably do whatever is necessary to use a more friendly key signature than 4 sharps at measure 74. Sorry, Terence, the overall structure did not work for me.

Concert band: Yes.
Something against alto saxes: Yes, They are HORRIBLE instruments!  Actually, the instrumentation is totally arbitrary right now, which also relates to the oboe+flute vs trombone remark. This sketch was purely to get melodies, countermelodies, structure, and harmony on paper. Actual orchestration will be done later and will certainly be mindful of instrumental balance. And yes, I'll include Alto Sax 1 and 2.
Structure: That was a key reason to post it here even in such a rough form. Your comment leads me to the conclusion that I need to reconsider the structure some, and either strengthen it or rework it. The structure intends to tell a story, but the piece must not rely on the program notes to tell that story. The music has to be self-supporting. Thank you for pointing out that the structure is currently lacking in that regard.