Music By Members > Completed Works: Junior

Romance Bassoon Violin Cello

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mjf1947:
Okay people ..... Here's the 99% finished version.

The form is ABCBA.

All comments/suggestions/ whatever  :o ..... appreciated.

Hope you find the work appealing.

Mark

PS: It tells a story .............

Patrick O'Keefe:
Very nice. 

I hear this more as separate movements (with nearly identical material in some of the movements) rather than a single ABCBA movement, but that doesn't change anything.  I also hear more than A, B, and C sections.  I may get curious enough to print out the score and mark it up to see what I'm hearing as sections that don't exist.  But it doesn't really matter if I hear it the way you intended; I still like it.

One notational point:  I've been told that a pizz. 8th note (followed by an 8th rest) and a pizz. quarter note will be played the same, and it's easier to read a series of quarter notes.  (That might not be the case if you definitely want the string to be dampened during the rest, but I suspect that has some special notation.)

I've been told the same thing holds for staccato winds, but you know better than I if that's the case.  Do you tongue a staccato 8th followed by a rest differently from a staccato quarter note?  (If so, I've got a lot of rewriting to do.  :(  )


--- Quote from: mjf1947 on December 21, 2019, 09:43:05 AM ---PS: It tells a story .............

--- End quote ---

Some people may be good at hearing stories in music, but I'm not one of them.  I have trouble associating musical and  non-musical subject matter.  (I cannot write programmatic music.)  If there is a story behind the music, could you slip me a summary so I'm not left behind?

mjf1947:

--- Quote from: Patrick O'Keefe on December 21, 2019, 05:16:21 PM ---Very nice. 

I hear this more as separate movements (with nearly identical material in some of the movements) rather than a single ABCBA movement, but that doesn't change anything.  I also hear more than A, B, and C sections.  I may get curious enough to print out the score and mark it up to see what I'm hearing as sections that don't exist.  But it doesn't really matter if I hear it the way you intended; I still like it.

One notational point:  I've been told that a pizz. 8th note (followed by an 8th rest) and a pizz. quarter note will be played the same, and it's easier to read a series of quarter notes.  (That might not be the case if you definitely want the string to be dampened during the rest, but I suspect that has some special notation.)

I've been told the same thing holds for staccato winds, but you know better than I if that's the case.  Do you tongue a staccato 8th followed by a rest differently from a staccato quarter note?  (If so, I've got a lot of rewriting to do.  :(  )


--- Quote from: mjf1947 on December 21, 2019, 09:43:05 AM ---PS: It tells a story .............

--- End quote ---

Some people may be good at hearing stories in music, but I'm not one of them.  I have trouble associating musical and  non-musical subject matter.  (I cannot write programmatic music.)  If there is a story behind the music, could you slip me a summary so I'm not left behind?

--- End quote ---

As a woodwind player I would play the staccato 8th short and quick .... the staccato quarter note with a bit more core sound; however, it would really depends upon the musical context and musical period: Classical, Baroque, Romantic etc.

The air stream offers lots of possibilities in the initiation of the sound, the manipulation of the sound (vibrato) and how you then let go of the sound;  similar I guess to a pianists touch/release and a string players bow tension and finger pressure on the string.

Thanks for the review .......  I think the different time signatures ... more clearly define each section.

The story is a romance .... an interplay.  One needs to let the imagination flow with the musical mood to set the scene .... with lots of yearning/longing - playfulness and some intervening tension/struggle and with a happy resolve.

And of course ..... I am always interested in improving the work.

Mark

Jerry Engelbach:
Mark,

It's really great.

The places where I can't hear the violin counterpoint are bars 7, 36, 141, and 158-159.

Whether thatís because of the software program or an actual imbalance in the instruments I canít tell.

To me itís one of the best things Iíve heard from you.

Cheers,

Jer

sandalwood:
I enjoyed listening to this work. It sounds engaging and expressive to my ears. I feel there might be some room for improvement in the transitions between the sections. All in all very nice, imo. :)

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