This score appears in
- MuseScore Composers (group)
- Composers - The next generation (group)
- We <3 Comments Group (group)
- Concert Band Music (group)
- High School Composers (group)
Info
| Uploaded | Jul 17, 2012 |
|---|---|
| Pages | 23 |
| Duration | 7:26 |
| Measures | 167 |
| Key signature | 4 flats |
| Parts | 34 |
| Part names |
|
| License | All rights reserved |
| Privacy | Everyone can see this score |
Comments (10)
Love the bassline in the beginning. Overall, amazing piece.
thank you
You're lucky to be getting advice from me... concert band is my love xD
-M. 17: Horns 1 and 2 have that underlying line that probably won't broadcast through the band. I would double that in Horns 3 and 4, and in the euphonium, and octave lower. Possibly in the tenor sax, since that eight note line is already well enough backed up.
-M. 21: The melody is starting to get boring. Here, I would add a harmony in the clarinets down a perfect fourth. Just something to spice that up a little bit.
-M. 29: Assuming those chimes are the things you want heard, I would double that in the flutes, clarinets, and possibly Alto Sax. Maybe write "bell tone" above their part and give accents so that part is brought out more.
-That ostinato trumpet line is hard. At least to repeat it for that long without break. My suggestion is to give them a break for 4 measures before that trumpet trio thing, and experiment with mutes. They add a lot of color to that sound.
-M. 59: Double that Horn 3/4 line in the Euphonium. Also possibly the marimba. In fact, consider using the marimba or a xylophone to double the top 2 voices in that trumpet trio at the Allegretto.
-M. 85: A cool effect here would be a pedal note in either the Tuba, Bari. Sax, and/or Bass Clarinet. Possibly an F or a C, by the looks of it. F minor has F as the tonic and C as the dominant. Try it out! Maybe some nice bass drum rolls there and a possible gong? Finger cymbals!
-M.97: Instead of that boring trumpet line there, maybe add a flowing trumpet SOLO! Something with vibrato, and a good mix of long tones, and 16th notes.
-M.105: Harmony harmony harmony! This spot just screams harmony to me! Maybe a tritone in the French Horn/Alto Sax, or something with them trombones. (Maybe muted)
-Ending: Very meh. Maybe incorporate the melody in some modulated key or other wierd form, rather than that very abrupt ending. I wouldn't use two notes to end the song! Again, experiment. :)
Good luck, and I hope my advice has helped.
I've updated the song, I'm working on the ending still the uploaded version still has the old one. Also at measure 97 there is supposed to be a progressive building up to the (now added) harmonies at 105. It wasn't clear and there wasn't enough building previously so there is no solo, I did however like the idea of the solo and added a 4 bar solo based off of the main theme later in the song.
Update 2: Added a second trumpet solo earlier on and an ending and a few other minor changes.
Update 3: Added a number of new things such as percussion and an electronic organ. The part for organ will be more than one phrase. The woodwind parts have been greatly expanded upon (although musescore isn't the best with trills)
Update 4: New bass line. Wrote the organ part. Also, silenced the trills in musescore but still part of music because I don't like the playback
Update 5: Modified last bar of main melody for woodwinds and changed organ solo into Oboe solo with Organ accompaniment.
Update 5.5: Extended the slower melodic section.
I'll throw some advice at you, too, if you want.
-Starting in measure 65 the first oboe gets really high. It's certainly possible to play, but it's extremely difficult to get it in tune and with a good, non-shrill sound. I would bring it down an octave.
-I would not recommend having two oboe parts at all, especially when both of them have solo parts. A lot of bands don't have an oboe, let alone two good ones. Nothing wrong with oboe solos (I love them), but I'd either combine them into one part or write one of them into another instrument.
-Not much reason to include a bass trombone and a euphonium. I'd probably change the bass trombone to trombone 3.
-From 73 to 80, I can't say it was really all that interesting. It seemed a bit minimalistic, which is something one would usually try to avoid in a concert band piece.
-The clarinet solo from 121 to 124 should, in my opinion, be made a soli in the 1st clarinets and/or also given to the oboe/flutes. it just doesn't sound like it should be a solo in my opinion, though I'm not sure how to explain it.
-The piccolo solo from 129 to 132, I feel, should be also given to, or at least cued in, the 1st flutes. Besides the fact that it will be difficult to draw out from the band, the piccoloist is usually not first chair, but second or third, so it likely would not be the best player.
-At 137, I would prefer to hear some harmony from the trumpet section. Perhaps starting on the G, and then pyramiding into a G minor triad.
(I might have some more later if you want, but right now I need to go to sleep. :P)
Hope I've been of some help. =)
As far as oboes go, the part is very high, but in a high-level highschool band it would be playable. However, it is extremely difficult to give the expression that passage deserves. You should think about what timbre you want, because and octave lower the part would be more reedy and much richer.
Thank you for an advice,
I did switch the bass trombone to trombone 3, I figured it would be played by the third trombone any.
73 to 80 I think is important for the building of the section to add the harmonies and come back in with the original section, although if you have any advice on how to improve that section I would be thankful.
I doubled the clarinet Soli (no longer solo) in flutes, I agree with you completely that it wasn't really a solo. I doubled the piccolo solo with a cue saying to play it as an optional solo with the remainder of the section repeating the previous phrase.
The trumpet part at 137 now builds into a full triad
As far as oboe's:
I would prefer not to drop the oboe part the octave, this part was written with the only possible performance being with the first chair oboe player in the state band playing the part although I can lower it if you think it's important because I don't know a lot about the oboe, and the top oboe line is a solo line, the remainder of the song is only for a single oboe, and the section this was written for has 4 players.
Settle down, Insane. It's still a WIP.
HEY. Regardless of what it is, it's still a concert band piece, and he wanted advice, right?
Thank you so much. This is only my second concert band composition and this advice is very helpful.