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Country Day, Would like some feedback

 This is a piece that I composed to sound pastoral(in other words, like the countryside). I used this sequence of modulations:
 
F major -> C major -> A minor -> Bb major -> C minor -> G minor -> Bb major -> F major 

The first F major section is supposed to sound like the sun is rising.  Then in the C major, A minor, and Bb major sections, it sounds  relatively peaceful. But the Fate motive appearing in both the bassoon  and the piano foreshadows the C minor section, and the last entry of the  Fate motive being on a C minor chord makes it sound like I am directly  borrowing from Beethoven's 5th. Once I get to the C minor section, there  is a jolt, both in dynamics and in tempo. The tempo almost doubles and  the dynamics become fortissimo. I also use a repeating progression twice  in this section. Here it is:

i -> i6(first inversion tonic)  -> i -> iv(with Ab in the melody giving a more dissonant tone)  -> i -> i6 -> i -> vii°7 -> i 

Now there were a lot of ways that I could have gone from C minor back to F major. Here are just a few: 

  • Circle of fifths, ending it on the subtonic dominant 7th in D minor
  • Ending the progression at F minor and then going straight to F major via parallel modulation
  • Ending the progression at C minor, then going to C major which leads to F major
  • Ending the progression at B°7 and resolving it to C major, again leading to F major

I decided to start like the circle of fifths progression, going to G  minor. From there I went to the mediant of G minor followed by a plagal  motion to F major.
 
Once I got back to F major, I decided on having the flute play a melody  to give us a sense that the drama of the C minor section is over. This  melody, I accompanied in the bassoon. Later, when the melody comes back,  I change the register to be down an octave and have it played by the  bassoon. The flute harmonizes and embellishes it with a countermelody of  its own. Towards the end, I have all 4 instruments playing  simultaneously and there is a ritardando, going from the 120 BPM of the G  minor and second Bb major sections to the 60 BPM at the end. In the  third to last measure, the harp does a diatonic glissando. I intended  for it to be diatonic to avoid much dissonance between the Bb major  harmony and the glissando. In the measure after that the harp does a  long trill and then it ends with arpeggios in the harp and block chords  everywhere else. These last 3 measures are again fortissimo. But because  there is no modulation or sudden tempo change, the fortissimo in those  last 3 measures just sounds like a typical ending cadence and so even  though mezzo forte and fortissimo have quite a noticeable difference in  intensity and there is a busy texture in the mezzo forte before it,  there isn't much of a noticeable dynamic jolt. The flute and bassoon  move in contrary motion over the piano chords in the last 2 bars, both  to an F but in different octaves.
 
I didn't compose this for your typical quartet. Instead I thought  "Which instruments would go well with the countryside in terms of their  sound?" Piano, Harp, and Flute were obvious ones. To help balance the  woodwinds against the piano and harp, I decided on having a second  woodwind instrument. I didn't go with the Oboe because it sounds pretty  nasal in timbre compared to other woodwinds(would probably be a very  good instrument though if I wanted to make a piece sound Scottish).  Another instrument that I could have used is the Clarinet(which in the  case of this piece would be a Bb clarinet). It sounds mellow like the  flute. But I figured that I didn't need a more mellow sound, I needed  some warmth to the sound. And I knew just which woodwind instrument  would provide a warm quality to the piece. That would be the Bassoon,  which is comparable to the cello because of its wide pitch range and  warm tone.  

What do you think of it? Here is the link:

https://musescore.com/user/50070/scores/5583632

I've No Idea What To Do

So my parents finally bought me an alto last March (I had 3 years under my belt then) and it's a student yamaha. I thought it sounded fine, and I played fairly decent with it. Marching band passed, and no problems. I got a new mouthpiece (Selmer c star) before auditioning for an all east TN honor band a few months ago in December (I made it), and I thought I sounded good still. My teacher said my sound was fine. Recently, for the past month or two, I've been noticing a subtle "buzzy" sound when I play, and at first I thought it was the reed. I changed reeds and found out that was not the case.  I showed my band director, and he said it shouldn't be a problem. I showed my teacher, too, but he said he couldn't hear it. I even gave my friend a chance to play my sax, and we both could hear it. Fast track to a few days ago; I got my sax out to start practicing, and immediately I was hit with the very noticeable buzzy sound... but much worse than before. Almost every note has the buzzy sound in it; especially middle g through middle d. I'm going to meet my teacher about it in a few days. But, would anyone know any reason for this just suddenly happening? I feel like it could be my mouthpiece, since it has tiny scratches here and there, or my alto itself, or both. Any advice would be appreciated.

Y’all Marching?

How many of you are marching tomorrow for Memorial Day? I don’t expect many responses cus it’s really late here, but I’d like to know. What are you playing? Our marching band *was* going to play National Emblem as we marched, but we cancelled the parade because of rain, so we’re just playing the National Anthem and Stars and Stripes Forever at the ceremony.

(Also, I apologize if my activity is annoying to any of you. I’m excited to talk with people who are as enthusiastic about music and saxophones as I am.)

Squeaky G and G#

Heya, I'm bringing this problem to the saxes of Musescore because I'm too lazy to make an account for another website and I have a marching band performance on Memorial Day coming up fast. (Just to clarify, this issue is on my tenor.)

So, I've had this problem for my entire time playing saxophone and I've mostly gotten around it with my embouchure, but it's gotten worse. If I try to play G or G#, it squeaks. Quite badly. Just today I noticed that if I kind of focus that squeak, it's actually a really bad palm key Eb, so I was wondering if it was a palm key leak or something else. I did also notice that several of the pads on the palm keys of my (I believe it's a YTS-26? I'll edit the post if it isn't) tenor saxophone were quite a bit out of alignment, especially the high F key, which was several millimeters off center. So, I was wondering if it is a key alignment issue or something else. Any suggestions?

Edit: The palm keys are also really loose on the tone holes, so that won't help. I was thinking of messing with the leaf springs, but I'm no professional. (Finally, that 4th grade science project on levers will help me)

Is this arrangement good?

Hello! I am Mark Catahan and I arranged a piece from Francisco Tarrega which was Gran Vals. It is originally a guitar piece but I transcribed and arranged it for a string quartet. With my arrangement, something is bugging me about how I arranged it and I do not know what it is. So I kinda need some help on figuring out what needs to improve in the arrangement. Thanks!

Here is the link: https://musescore.com/user/16206131/scores/5582490