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91
Works in Progress: Senior / Re: Violin_Sonata_03
« Last post by mjf1947 on June 03, 2019, 10:33:09 AM »
As always I am a fan of your work.  I listened to the first movement ... whimsical, bright, with sinuous lines - Lovely.

I do have a question regarding the piano accompaniment. At times (maybe because of the mixer) I felt the piano is too dominate in the dialogue with the violin.   ???

Mark

92
Chit Chat / Re: NotePerformer3
« Last post by Michel.R.E on June 03, 2019, 08:06:28 AM »
I'm really enjoying NP3.
I spent part of this morning working on the 1st movement of my 2nd symphony, making minor tweaks here and there, changing a few notes that didn't quite sit right with me, altering some phrases.
I ended up adding a few cymbal rolls, and it was a breeze once I figured out HOW to do it.

Gotta say, adding cymbal certainly brightens a score! LOL
93
Works in Progress: Senior / Re: Violin_Sonata_03
« Last post by RJB54 on June 03, 2019, 05:35:38 AM »
3rd movement, measure 84-85, I'd suggest something to add some colouristic fun in the violin part: mark the A - E - E as open strings (use articulations to mark 0 on each string, or mark the string numbers, in this case II, I, I,) , then the upper A with a harmonic circle on it ( ), making it the octave harmonic on the A string, then the violinist only has to put down two fingers to get the 6th interval D+Bb on the D and A strings (III and II). you'll get a nice tension from being higher up on the strings for that doublestop, and the added colour of a strong natural harmonic on the A.

I now remember why natural harmonics don't figure in my thinking.

In researching natural harmonics to follow up on the above comment I've found that it's all gibberish. Every article and you tube video on the subject I've found talks about how all of the other descriptions of natural harmonics are confusing gibberish and then go on and provide their own confusing gibberish. I can't seem to find anything which has a simple, strait-forward, description of the notation and how its used. All of the articles I've found spend 90% of the article discussing the physics and little to no time discussing its use in notation.

This being the case, I've just always ignored the use of natural harmonics and gone strait to artifical harmonics which I understand how to notate and use in a composition.
94
Chit Chat / Re: Harmonic support for Solo lines.
« Last post by mjf1947 on June 02, 2019, 04:18:25 PM »
By the way ... I sent the conductor the link.  At Saturdays rehearsal he worked on the woodwind ensemble.

Today's concert went very well ... received some nice compliments from my fellow musicians ... so much more to learn and integrate.  Good news though ... no crazy anxiety ... just normal performance tension/anticipation.  Little by little I am getting where I want to be.  It is HARD work!.  Thank you all for the positive feedback.  ;D

Mark
95
Chit Chat / Re: Harmonic support for Solo lines.
« Last post by sandalwood on June 02, 2019, 03:10:41 PM »
Mark, this is REALLY a lovely tone and first-class musicianship imo, congratulations! Thanks to you and Jer for the links to  instructive vids.

96
Works in Progress: Senior / Re: Violin_Sonata_03
« Last post by RJB54 on June 02, 2019, 10:48:52 AM »
I figured out a way of manipulating the rows to allow for the incorporation of the D in that measure.

Originally, I didn't give that double stop much though as I figured that since the G is played on the open G string and there is a break before the double stop that it would be no problem to shift the hand so that the C could be played on the D string.
97
Do you deliberately write  genre/period/school/culture  (e.g. jazz/late romantic/impressionist/ethnic) markers into your compositions? Is it generally to  effect a local evocation/reference or to obtain a diffuse effect painting the whole work in a certain color?
98
Works in Progress: Senior / Re: String_Sextet_03
« Last post by RJB54 on June 02, 2019, 06:35:17 AM »
In the OP I have added the audio for the 5th, and last, movement as well as an updated score.

The 5th movement starts similar to the 1st movement. In fact the 1st few bars are exactly like the 1st movement. However, unlike the 1st movement, the sonic environment here remains subdued with no highly emotive sturm und drang as is found in the 1st movement. Also, this movement has no contrasting sections, just various episodes along the way leading to the emotive resolution at the end.

Sorry that it took awhile to get this last movement posted, but I got sidetracked into other composition projects which delayed me here.
99
Works in Progress: Senior / Re: Violin_Sonata_03
« Last post by Michel.R.E on June 01, 2019, 10:32:56 PM »
for measure 147, the suggested triple stop, what notes might be part of your pitch set that could be applied there?
I can check the fingerings for you and see if any note would be easier than another.
it would have to be a note played on the D string.
hell, you COULD even make it a triple stop that only contains 2 notes... doubling either the bottom note one octave higher, or the top note one octave lower. I think the latter would be more comfortable.
100
Works in Progress: Senior / Re: Violin_Sonata_03
« Last post by RJB54 on June 01, 2019, 09:24:42 PM »
Michel,

As always I thank you for your extensive review and comments.

quick question, at measure 61 on, are ALL those notes meant to be played down bow? or is that just to indicate 1st note is down bow?
if it's the former then you would have to put either a horizontal dotted line from the down bow articulation to encompass all the notes (or a short horizontal line, then the word "sempre"), or put the down bow articulation on all the notes.

If its the latter, then the down bow articulation isn't necessary at all. It's a given on those beats that they will be played down bow. Although I'm not sure that a marcato passage you'll notice much difference between up and down bows, they will most likely be played in the very middle of the bow, or between the frog and middle, so regardless of bow direction will have the necessary power.
rather than the dotted accent I'd recommend using the little hat with a dot in it, the marcato articulation. or even just writing "marcato" for the passage, or "molto marcato".

What I wanted was the ensure that the figure would be played down-up-down, down-up-down, etc. If the performance convention is that the player would automatically do that I can remove those bow marks. I'll address the other articulations you mentioned.

measure 26 in the 2nd movement, I can see those double stops NOT being fun to finger. it's a slow movement, rather exposed, it's doable, but very exposed. will require a good violinist.

I'll have to look harder at the double stops in this movement as it's an older piece and some of the double stops are probably not as well thought out as I do now. I should of done that before I posted but forgot to do that.

measure 39, I could suggest using a natural harmonic on the D string instead of the artificial harmonic as written. it would be one octave lower than the two octaves you have written here (2 octaves above the open D string), but it might gain in subtlety because of the nature of the natural harmonic? it's a suggestion. something to maybe discuss with a violinist when it's time to play this.

I'll consider that. I must admit that I tend not to think about natural harmonics, I don't know why.

From an engraving standpoint, I'd suggest using a larger font for things such as "accel", "rit". and "a tempo". These should also not be in italicized font, but Roman. only expressive text uses Italics. (despite so many old school scores doing so, it is now standard to keep italics for expressive text, so that those expressions are not confused with actual technique or tempo markings.)
the small font you're using makes them fit more into "expressive" marking territory, than actual tempo changes. Tempo modifications should be very visible.

also for actual technique text, such as arco/pizz. these should be a bit smaller than any tempo markings or alterations, but still larger than what you have in your score.

These marks are the defaults that come with Finale. Do you change the fonts manually?

3rd movement, measure 84-85, I'd suggest something to add some colouristic fun in the violin part: mark the A - E - E as open strings (use articulations to mark 0 on each string, or mark the string numbers, in this case II, I, I,) , then the upper A with a harmonic circle on it ( ), making it the octave harmonic on the A string, then the violinist only has to put down two fingers to get the 6th interval D+Bb on the D and A strings (III and II). you'll get a nice tension from being higher up on the strings for that doublestop, and the added colour of a strong natural harmonic on the A.

OK, interesting suggestion. I'll have to internalize that approach not just for here but for future use.

At measure 147, why aren't you making that violin part a triple stop? just asking, since the D was part of the previous harmony in the piano part. and including it here would make the chord a bit easier to play.  the high C would have to be played on the D string in a high position. Not impossible or difficult. But the tone on that high note won't match the low G of that open string.

Because D is not part of the pitch collection being presented in the Violin. At this point the violin and piano are presenting different pitch collections. I guess you can make the argument that I am missing a possibility by adhering to my theory. I'll think about it and maybe work out a way to get a D there for the technical reason you mentioned.

in the piano part at 219,220, 223, 224 the beam for those cross staff notes is in the wrong direction. the rule is pretty simple: when the notes are relatively close together, the beam is parallel to the staff. When there is a distinct change of register between the notes, then the beam should follow that direction. In this case, the beam is pointing down, but the notes are going up. The beam should go up, like the notes.

OK. This is yet another example of something that I assume Finale would automatically do correctly and never gave it a thought.

at 255, violin, is that low E natural or flat? it is important to avoid any confusion here. if it's natural, then mark it, and put a flat in parentheses for the upper Eb.

You're correct there is an accidental missing there.

I'll also take in to account your other comments about collisions, etc. as I make my revisions.

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