Author Topic: Remember-Solo Bb Cornet  (Read 180 times)

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Medievalwarfare

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Remember-Solo Bb Cornet
« on: March 17, 2019, 07:49:17 PM »
This short piece is meant to be a memorial piece similar to "Taps," but in my own style. It's very simple, but the high B natural may be a challenge for some brass players to play. If I should change it, feel free to say so.

Score:

https://www.dropbox.com/s/fezrqcv8lw5kbgo/Remember.pdf?dl=0

Recording:

https://www.dropbox.com/s/1lsf21vpapl566u/Remember.mp3?dl=0

mjf1947

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Re: Remember-Solo Bb Cornet
« Reply #1 on: March 18, 2019, 06:51:53 AM »
HI,

Two observations: firstly, I don't feel a tonal center in the musical line; secondly, I don't understand the thematic line.  It might help as in "taps" the thematic motif is repeated clearly.

Mark

Ron

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Re: Remember-Solo Bb Cornet
« Reply #2 on: March 18, 2019, 08:26:42 AM »
Hi,

I agree with Mark. The first part appears to be in D major, but then it gets lost. The mixed accidentals in mm. 19-20 add to the confusion with the augmented 2nds.

You start with two main thematic ideas in mm. 1-3 and the 2nd in mm. 4-7. Why not work with just them and build the piece on these two ideas? You did repeat the opening idea once in the dominant, but then you never went back to it. Take a look at "Taps" where there is just essentially one rhythmic idea: a dotted quarter note followed by an 1/8th note, then a sustained note. Simple works.
Ron
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whitebark

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Re: Remember-Solo Bb Cornet
« Reply #3 on: March 18, 2019, 03:05:07 PM »
Writing a melody without any accompaniment is a great basic composition exercise, and it is less simple than it sounds. To do this well, you need to know what the motives are in the melody and how to develop them.  You must create a pleasing arc in the melody which typically rises to a high point, which provides a climax.  Then the melody must end with a cadence of some type to give it closure. And there are issues of tonality and implied harmonies to deal with.  You might pick up a copy of Alan Belkin's "Musical Composition - craft and art" which covers these topics.

Consider the traditional "taps".  It's a short tune but has all the elements of a good melody.  As Ron noted it uses a simple motive consistently. The melody has a nice arc that rises to a high note, providing a climax of a sort, then falls again, relaxing the tension.  A strong V-I cadence provides closure.

Jay
« Last Edit: March 18, 2019, 03:20:18 PM by whitebark »

gogreen

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Re: Remember-Solo Bb Cornet
« Reply #4 on: March 19, 2019, 06:34:09 AM »
I also agree with Mark. The phrasing also didn't agree with me--for instance, the half note B in the seventh measure might be extended to two half notes to define the phrasing better. The next "phrase" appears to be nine measures long, which didn't work, to my ear. I think the music would be much better if it were in four- and eight-measure phrases. The high B could be a challenge to many players would might otherwise attempt this piece. I do think, though, that you captured the dignity and solemnity of "Taps." Adding appropriate dynamics would strengthen the piece and help with phrasing--for instance, adding a hairpin swell in measures 4-8, tapering the dynamic to piano at the end of the phrase.

Jerry Engelbach

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Re: Remember-Solo Bb Cornet
« Reply #5 on: March 20, 2019, 11:16:16 AM »
I agree with Ron.
 
You get a theme going in the first 6 bars.
 
Then you start a counter theme in the next bar that sounds like it's going to proceed downwards and back to the tonic, but it takes off somewhere else.
 
I would follow through on that downward pattern to the tonic, and then take off from there.
 
Cheers,
Jer
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Patrick O'Keefe

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Re: Remember-Solo Bb Cornet
« Reply #6 on: April 02, 2019, 03:35:47 PM »
I've been away from the forum for a while.  In trying to catch up I've listened to a number of your pieces in succession.  I'm afraid my most typical reaction is "I don't feel where this is going".  I don't get a feeling of moving toward a destination, either melodically, rhythmically, or harmonically.  You may be very consciously aware of this and are purposefully writing disjunct segments of music ... but I suspect not.

I missed hearing about your background, but I suspect you are self-taught.  (If not, you should probably ignore the rest of this posting.)  I'm going to give advice I was given on this forum about 8 years ago when I was trying to teach myself composition.  Find a teacher / tutor / mentor.   You maybe already have basic knowledge of music and composition theory  - as I did not - but it feels to me like you could use help applying that basic knowledge to your composition.  Getting immediate feedback while composing is invaluable.

That was the best advice I was ever given so I am passing it on.   I've been seeing my teacher almost weekly for nearly 8 years and am still learning from him.  (I'm a slow learner.)

Ron

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Re: Remember-Solo Bb Cornet
« Reply #7 on: April 03, 2019, 08:23:18 PM »
Might I suggest you take Alan Belkin's online courses on harmony and on counterpoint. They are available on YouTube. His first lesson on harmony is here: https://www.youtube.com/watch?v=MjaOwTq9inM


Also, his book, Musical Composition: Craft and Art, is available on Amazon. For a first rate book on composition, rather than harmony or other theory, it is a steal at about $20. He goes into great detail on exactly how to go about putting together a coherent melody.
Ron
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