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Arrangement of Moonlight Sonata

I need some feedback on my arrangement of Beethoven's Moonlight Sonata for woodwind quartet. I have been told to be more adventurous with it and only have doublings when I need to. Thing is, Beethoven hasn't given me much to work with here. The only movement that is complete here is the Adagio movement. I am still working on the minuet movement. The hardest part to arrange would be the Presto agitato with all those fast arpeggios and alberti bass.

Here is a link to my arrangement of the Moonlight Sonata:

https://musescore.com/user/50070/scores/5445526

What is Tchaikovsky's greatest work?

Out of all of the pieces of music that Pyotr Tchaikovsky wrote, which piece(s) is/are your favorite? Why?
I love his F minor symphony (symphony IV). The first movement starts with a fanfare in the horns and bassoons, but the trumpets steal it (the score also shows flutes, oboes, and clarinets playing with with the trumpets but they have hardly any effect) but than abandon it for the the horns to continue until it does out. Then the strings start a melody. That melody bounces around the strings and woodwinds until the the timpani shushes them and the trumpets play the fanfare and then the horns. After that a clarinet starts a different melody, one with swing. That melody grows, then the strings bring back their melody but in a happier version. Then the strings pick up energy but the trumpets try to bring happiness. Then the strings drop off the happy moment so the trumpets jump in with their fanfare many times. The timpani doesn't do a roll though so the strings and winds keep going. When the timpani does roll, the strings and winds don't shush, the just play louder than ever and then play their melody louder than ever. After that the bassoon takes up the clarinet’s melody and that develops t and then movement concludes.

The next movement starts with a beautiful oboe solo. The whole movement is not melancholy rather than forceful. The third movement starts with just pizzicato strings, than had quick winds, then staccato brass, then all the together.

The final movement starts with a lot major chord, after which the the winds and strings play a quick downward passage. After that a melody is put in the flutes and develops until the big chord comes back. Then that melody comes back and after that the chord comes and then a Russian folk tune is blasted triumphantly. After that the melody comes back and comes into a round between the trombones and trumpets. They then play a motif a second higher, then another and another until they come to the a-flat the fanfare in the first movement starts on. They play the fanfare and then die out. Some horns revive the Russian folk tune and the the chord and run passage followed by the Russian folk tune comes back and then the piece and very triumphantly.

For a runner up I would pick his D major violin concerto simply because of the spine tingling melody in the first movement.

Working on a waltz

This and other dances in general I have kind of been avoiding for the first 10 years that I composed. But I figured that if I am going to start composing dance music, waltzes would be great to start. I decided on a tempo of 90 BPM, so like Andante Moderato in the Italian terminology, to make it not so difficult for people to play once it is finished. I also decided on a key of D major because I compose a lot of my pieces in flat keys so I figured I should balance it out with some sharp keys.

I know these things about a waltz that apply more or less specifically to a waltz:

Most have a 3/4 time signature(though some have a 3/8 time signature and others are at 6/8)
Most are at a moderate speed
Left hand pattern is usually 1 bass note followed by the chord the bass note is in
A lot involve pedaling, though not all do
Waltz is dominated by melody

But I still find writing dance music to be hard, even though it is a shorter length composition than a sonata. Minuets are the hardest for me so far(I tried writing a minuet before and it didn't turn out well). My phrases and melodies in general also tend to be on the long side. So I might end up with a 10 minute waltz instead of a 5 minute waltz. 

How can I make it easier to write a fugue?

So I have tried writing fugues multiple times, I find the first step, figuring out the subject to be very easy. I have heard to limit it to 4 measures but I find my phrases tend to be long so to make it easier for me, I raise the limit to 10 measures. I find that if a phrase or phrase group lasts for longer than 10 measures, it starts sounding like a sonata theme rather than a fugue subject. I find that past the exposition, it gets very hard. It's like I go from:

I know exactly what melody I want to use


to

I have no idea what to do next, there are millions of viable fugues here.


And in case you want to know, here is my approach to writing a countersubject:

 
  1. Just the roots of the I, IV, and V chords of the dominant key, all quarter notes
  2. More flexibility but still staying exclusively within the triads, no rhythmic freedom yet
  3. Rhythmic freedom, but still consonant
  4. Introduce dissonances, and have the notes faster around the dissonances

So how can I make the process of writing a fugue easier? I have done everything I can think of(composing fugues, listening to Bach, analyzing Bach, listening to Bach analyses, studying counterpoint) and it is still super hard.