Author Topic: Baltic Suite  (Read 660 times)

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AO

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Baltic Suite
« on: December 19, 2016, 09:15:31 AM »
Iím having a little trouble notating percussion.  Iíd like to put the symbol and triangle on each their separate lines but Finale tends to put the notes high up with ledger lines. Around measure 43 Iím not quite sure how to distinguish muted and open triangle, any suggestions? Thanks.

I have added another section for this suite.  Juras Mala  translated is Oceans Edge.  I've been working on normalizing my score and would appreciate any help with it. Should I combine the triangle, symbol and gong on one percussion staff? Also is it traditional to have quantity of strings listed?  I've also added audio files for anyone interested in listening. Thanks.
« Last Edit: January 23, 2017, 08:44:28 AM by AO »

Ron

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Re: Baltic Suite
« Reply #1 on: December 19, 2016, 09:24:05 AM »
You can easily drag the notes you want for percussion instruments to any staff position you like. See attached for step-by-step.
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Michel.R.E

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Re: Baltic Suite
« Reply #2 on: December 19, 2016, 09:51:53 AM »
it has a VERY catchy main theme.

the orchestration is very unbalanced, however.
what made you choose this somewhat heterodox orchestration?

The baritone is most definitely not a regular part of the orchestra.

For the amount of brass (even if it's 1 of each) the woodwinds won't balance at 1 of each of them.

I'd suggest starting over a bit and assuming 2 of each woodwind, though you have a flute and a piccolo so that counts as two flutes. You'd still have to think in terms of a pair of oboes, a pair of clarinets, and a pair of bassoons.

for your brass I'd suggest thinking in terms of a mozartian orchestra: two horns and two trumpets. leave out the trombone, baritone and tuba. The important thing here is to learn to use the bass you already have in the orchestra - your bassoons and celli and contrabass. Having a tuba in such a tiny and rather sparsely orchestrated ensemble is almost cheating.

When you have melodic material in the woodwinds, unless it's really a solo melody that is softly accompanied, start thinking in terms of your whole woodwind choir. if there are brass playing and strings, then you will need to double up woodwinds, both at unison and in octaves and other applicable intervals.

Never resort to the "two [fill in instrument name] in unison" solution. That is never the correct first response. It's a special effect, and should be treated as such. As a matter of fact, unless your pieces is 20 minutes or longer, there shouldn't be any instances of unison in the woodwinds when you are doing beginner orchestration.

keep voices clear and distinct - avoid too much criss-crossing of voices in the same register. That muddies the melodic line.

Most of the string writing seems fine to me, but it contains a bit too much unison writing for this kind of work. You have the right idea in a number of spots by having the lines run parallel in 6ths and 3rds. Think of this sort of treatment for your woodwinds as well.
"Writing music to be revolutionary is like cooking to be famous: Musicís main function is not revolution. Ė Alan Belkin "

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AO

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Re: Baltic Suite
« Reply #3 on: December 21, 2016, 06:22:33 AM »
Thanks Ron, I think I got it. Now I think Iím going to put this piece aside and concentrate  on this percussion stuff for awhile.

Quote
what made you choose this somewhat heterodox orchestration?

Thanks for your suggestions Michel, Iím a little embarrassed how little I know about scoring, I guess when  you have violin written on the score thats one violin and not a violin ďsectionĒ that I chose in the score manager.   Also, in the default Finale orchestral template, the woodwinds are labeled insruments 1and 2 for one staff,  I understand your suggestion to mean there should always be two separate staffs?

I think I want to keep the tuba and other horns, Iím trying to get an old fashioned Oom-Pah band effect in the fast section. I suppose I could emulate that with the other bass instruments you mentioned but if I have a full orchestra, it might work, Iíll have to figure it out later, itís nice being an amateur, no deadlines, no tests.

I truly appreciate you guys helping everyone here, I donít know how you put up with it all,

Cheers,AO.

Ron

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Re: Baltic Suite
« Reply #4 on: December 21, 2016, 07:42:28 AM »
Woodwinds and brass are often written in pairs on single staffs, especially if they do not diverge too much in rhythmic patterns. However, if they are significantly different, then they should be on separate staffs. It depends on how complex the music is. Often one switches between pairs on a single staff and separate staffs for each--again, depending on whatever makes things most clear. Check out Michel's and Jamie's scores in the senior section to see how it should be done.


Oh, as for "putting up with"--as long as people are willing to learn there are people willing to teach. :)
Ron
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AO

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Re: Baltic Suite
« Reply #5 on: January 23, 2017, 08:46:08 AM »
Just added new new audio files and one new score.