Author Topic: Concerto Grosso for 2 violins, harpsichord, and strings movement II  (Read 449 times)

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whitebark

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I started work on the second movement of this piece, which will have three movements when it is complete. I plan to use an ABA structure for this movement. The A section starts out in 6/4 time and has a dark, almost dirge-like feel.  The B section uses the lydian mode and has a lighter mood. I've only started this section. I've got much more work ahead to complete the movement.

Well, here is the work in progress:

updated to version 3, May 3 2019

Score:
https://www.dropbox.com/s/r8rv8g49trexmvb/Concerto%20Grosso%20mvt2%20v4.pdf?dl=0


Recording:
https://www.dropbox.com/s/32adrya9ri4y1o7/Concerto%20Grosso%20mvt2%20v4.mp3?dl=0

Jay
« Last Edit: May 06, 2019, 11:43:08 AM by whitebark »

RJB54

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Re: Concerto Grosso for 2 violins, harpsichord, and strings movement II
« Reply #1 on: April 20, 2019, 08:09:20 AM »
Jay,

I liked the tone/mood of this movement. It works well. I look forward to the completion.

However, as I probably said in relation to the 1st movement, I don't know about the harpsichord. Even in the audio file which is 'recorded' in a more or less perfect acoustical environment, the harpsichord is practically inaudible.
Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST.
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mjf1947

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Re: Concerto Grosso for 2 violins, harpsichord, and strings movement II
« Reply #2 on: April 20, 2019, 10:42:04 AM »
Well .... there are some really interesting harmonies in the movement.   It does keep you at the edge of your seat.  There is a cinematic flavor to the work.  Dark is correct~!

The harpsichord is an interesting percussion choice ... however, as I stated before -  I wonder whether another percussion instrument be more pronounced as a counter point to the strings?

Mark

RJB54

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Re: Concerto Grosso for 2 violins, harpsichord, and strings movement II
« Reply #3 on: April 20, 2019, 11:05:59 AM »
The harpsichord is an interesting percussion choice ... however, as I stated before -  I wonder whether another percussion instrument be more pronounced as a counter point to the strings?

Mark

That's a good idea. Maybe vibes would work well as a different color in the ensemble?
Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST.
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whitebark

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Re: Concerto Grosso for 2 violins, harpsichord, and strings movement II
« Reply #4 on: April 20, 2019, 06:10:57 PM »
Thanks for having a listen, Mark and Robert  :).  I probably shouldn't have posted this rather preliminary fragment of music, but get a glass of wine in me.... at any rate,  I'm sticking with the harpsichord, but I have to make sure there are places in the music where the harpsichord can show its stuff. Good enough for Bach (and Poulenc) , good enough for me!

In other news, I downloaded a trial version of Dorico "Elements" (the stripped-down version for casual composers), and managed to import this piece into Dorico, using the musicXML format. After a bit of a battle, I managed to get the score to play back using NotePerformer and it sounded good (but with some glitches).   I found the editing process in Dorico to be perplexing, but that may be a matter of learning my way around the program. Playback in Sibelius seems so much simpler, and the ability of Sibelius to play isolated staves with a simple mouse selection is so useful. It looks like I will be sticking with my clunky combination of using Musescore to do score layout and Sibelius to handle score playback.

Jay
« Last Edit: April 20, 2019, 06:19:58 PM by whitebark »

Jerry Engelbach

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Re: Concerto Grosso for 2 violins, harpsichord, and strings movement II
« Reply #5 on: April 21, 2019, 11:42:06 AM »
Jay,
 
I think the harpsichord is a great idea, but the orchestration of course has to complement it.
 
The beginning of this piece is gorgeous, but I don't feel that the harpsichord adds anything. Even though the chord are arpeggiated, I can't hear it.
 
The Poulenc is a good model, in the way he weaves the harpsichord in and out. For example, I feel that by introducing a phrase with the harpsichord and then adding in the orchestra, he makes us follow the harpsichord even when it becomes somewhat submerged.
 
Cheers,
Jer
Finale 26
GPO 5
JABB 3
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whitebark

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I have finally fleshed out the entire movement, which is roughly structured in an ABA form.  The   "B" section starts with a ligher feeling, provided by the lydian modal flavor. A darker, march-like varation follows,  in phrygian mode.   The final A section is short and brings the piece to a quite close.

Recording (version 4)
https://www.dropbox.com/s/32adrya9ri4y1o7/Concerto%20Grosso%20mvt2%20v4.mp3?dl=0


Score:
https://www.dropbox.com/s/r8rv8g49trexmvb/Concerto%20Grosso%20mvt2%20v4.pdf?dl=0


-Jay
« Last Edit: May 06, 2019, 11:43:42 AM by whitebark »

Jerry Engelbach

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Aw, that's just great, Jay. Strong themes, harmony, counterpoint, orchestration. A powerful mood.
 
Those arpeggiated chords at the beginning are chilling.
 
The D major 9 at the end was a happy surprise.
 
I think that the way you worked in the harpsichord was clearer than it was in the first movement. The texture of it is very present.
 
Cheers,
Jer
Finale 26
GPO 5
JABB 3
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mjf1947

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A Tour de Force~!

I am a fan~!

Extremely enjoyable and moving..... :o

And yes the Harpischord is more present.

Mark

whitebark

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Thanks for having a listen to the revised movement, Mark and Jerry. One reason that the harpsichord is more apparent is that I cranked the volume up a bit  :)

Also the orchestration is more transparent after the initial A section. 

I'll continue to make refinements to the movement, but don't plan to extend it or add much more new material.   Then I have to start composing the last movement, which will be lighter in mood and lively. 

-Jay

RJB54

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This version works well. I like it. I like the harmonic and melodic approach which sounds nothing like you would expect from something billed as a concerto grosso which includes a harpsichord. This subversion of expectations is a nice touch in my book.

Yes, increasing the volume on the harpsichord helps significantly, but one must keep in mind that in a live performance such audio mixing won't apply and the ensemble must be handled in a way which would have the proper balance. Having said that, I know its difficult to get a great balance from the Finale performance as the relative volumes of the various Garriten instruments vary greatly.

I'm not up on current standards so maybe the way you have the beaming is considered OK nowadays. However, from my purely subjective perspective, as a performer I would find the non-standard beaming approach you have taken in many places to be very difficult and annoying. To my eyes the notation makes it difficult to keep track of where you are in the measure. But, that could be just me, I haven't performed in many years and could be out of touch.

Regardless, I liked this and look forward to the last movement.
Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST.
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sandalwood

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Jay, I think this is beautiful! Deliciously moody and mysterious as I hear it. In the first listenings I couldn't make up my mind if some lightly textured passages sounded too light, then I ended up thinking otherwise.

Comparing with the Tube Poulenc recordings your cimbalo did not sound too much cranked up to me.

Keep up the good work :)

Reha

Michel.R.E

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I'm not up on current standards so maybe the way you have the beaming is considered OK nowadays. However, from my purely subjective perspective, as a performer I would find the non-standard beaming approach you have taken in many places to be very difficult and annoying. To my eyes the notation makes it difficult to keep track of where you are in the measure. But, that could be just me, I haven't performed in many years and could be out of touch.

No, you are right, your eyes do not deceive you.
The beaming would have to be corrected.
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whitebark

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Thanks for having a look, Michel, Reha, and Robert  :). Yes, the automatic beaming done by Musescore is terrible. I'll have to go in and fix it manually. Sibelius does a better job and I can use that as a reference.

Jay