Author Topic: Suite for Violin and String Orchestra, part three  (Read 2917 times)

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Ron

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Suite for Violin and String Orchestra, part three
« on: May 23, 2011, 10:41:09 AM »
I've always been enamored of Scottish music--probably because of my mother who was born and raised there. I recall that when I was 6 or 7 I could dance the "fling," and my mother sometimes lay a broom and mop, crossed on the floor, so I could work on the sword dance. Every now and then I write something that I know my mother would have loved.

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« Last Edit: July 09, 2011, 09:43:56 AM by Ron »
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Michel.R.E

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Re: Suite for Violin and String Orchestra, part three
« Reply #1 on: May 23, 2011, 11:40:51 AM »
very fun.

the part with the celli and basses playing the A/D pedal, might you consider moving the cello part up to take advantage of actual open strings on the instrument? the sound might have more of that "drone" effect.
"Writing music to be revolutionary is like cooking to be famous: Music’s main function is not revolution. – Alan Belkin "

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Ron

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Re: Suite for Violin and String Orchestra, part three
« Reply #2 on: May 23, 2011, 12:34:05 PM »
The "sounds" like a good idea.
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flint

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Re: Suite for Violin and String Orchestra, part three
« Reply #3 on: May 23, 2011, 12:59:23 PM »
Ron, this is very nice.

m.17 - cello, should that be a G#?

My personal preference for some of the notation would be to lengthen the notes to improve readability. For example, in m.14 in the cello, changing the eighth note A & D# to staccato quarter notes. Or changing the pizzicato eighths in the accompaniment at the beginning to quarters. Also, I'm not entirely convinced on the 16th/8th/16th/8th figuration (example: m.31, solo). I might be tempted to break the beam after the first eighth.

Harmonically this is rather conventional (and there is NOTHING wrong with that). If you wanted to spice it up just a hair, you could alter the parallel sixths in the violins (starting ~m.32) so that the seconds arrive an eighth before the firsts (example: m.32 C Bb Bb A G G F E D | E). This would create more tension while still remaining rather conventionally within the given harmonic structure.

It might be delightful to toss in a soft countermelody in the final 12 bars... since the seconds are holding the fifth of the chord (which is altered by the solo), perhaps a little repeating chromatic countermelody for them?

In the penultimate bar something needs to happen. Otherwise, slap a fermata on beat 4 of m.84 and remove m.85 altogether.

I like that there are a lot of sudden contrasts in dynamics, but I would also like to see more shading used, as well as perhaps some articulations to more highly inflect the style.
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Ron

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Re: Suite for Violin and String Orchestra, part three
« Reply #4 on: May 23, 2011, 08:42:56 PM »
Actually, if I pitched both the celli and bass' "drone" an octave higher, they would be closer to the bagpipe tenor and bass drone (usually pitched to the two A's contained within the bass clef).

As always, all suggestions are welcome and I do consider them all seriously.
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RJB54

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Re: Suite for Violin and String Orchestra, part three
« Reply #5 on: May 24, 2011, 05:39:03 PM »
Even better yet!

I especially like the asymmetrical phrases. The ubiquity of the 4 and 8 bar phrase length which has dominated for the last 150 years or so gets a little (or maybe more than a little) stultifying and it's nice to hear something which utilizes phrases of a different length.
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