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  • Classical composition using special edition/plus

    Hey, Looking to share a quartet I wrote (cl, vln, vla, vc). This is the first project I have used Vienna for (ran finale notation through logic) and it will certainly not be the last. It took a considerable amount of time but I am so pleased with the final product. Hopefully my craftsmanship with these programs will develop more over time, but for now...

  • very cool. post romantic instead of classical, although I understand wanting to put the label "classical" on it for the genre.

  • It sounds very good in terms of mix and playing. What it would use would be a better vibrato variation in strings, a somewhat smoother legato, gentler attacks and dynamically less static clarinet.

    However, it is already a high quality sampled production, to which I can listen as music without being distracted by severe sonic/playing deficiencis.

  • I really like the composition itself, very beautiful =)  May I ask whether you usually compose "intutively" or "analytically"?  or a bit of both? what is typically your composing process?  Did you use velocity x-fading on this piece, or are the solo strings articulations really that diverse already? 

    My opinion differs slightly than goran_tsch about the mix.  Personally the way I hear it, the clarinet has a little too much "solid strength" in its lower register.  If you're not using MIR, the solution I would suggest is to reduce the EQ with a very gentle slope, starting around 1000 Hz, and by the time it reaches around 200-300 Hz, it should be at -5 dB.  With MIR, I don't know =)

    Second, I feel maybe the violin and cello are actually too quiet versus the viola -- but not always.  I feel it particularly when the viola has a sustained note, it seems to stick out more than the violin and cello (for example around 3:00).  On several violin and cello passages where their motion should stick out a bit, I felt they got muffled under the sustained notes of other instruments.  I'm not sure if this should be fixed by raising the overall volume level, or if it should be fixed by adjusting velcoity crossfading for each phrase.

    In my experience as a violin player, in chamber groups there is a very awkward disconnect between "composer requested" loudness and "actually performed" loudness.  Generally this issue doesn't come up because performers are musical enough to make that translation transparently.  But when its our job (as composers) to specify the "actual performance" volume, this translation becomes really obvious and awkward.  You might find that it takes some surprisingly drastic velocity x-fade changes (by the numbers) to create subtle expressiveness, for example at 2:20-2:40 in the violin.  Or some unexpected articulations can help things blend better, like maybe try a flautando articulation around 4:40-4:50 on violin and cello, so that the viola which is naturally less piercing can stick out a bit more on its solo.

    But, i'm just over-excited about making suggestions.  Its already sounding great.

  • Thank you, some really wonderful suggestions. I generally start off by writing intuitively. Once I have a page or so of material I then approach it analytically and find out what makes it tick (the elements). I then try to develop later material with the same elements so that it creates an over-all continuity. My big thing is pitch sets (not exactly diatonic but certainly not 12-tone or any form of serialism either). I build off of one set normally and change it up a little by inverting things or transposing them. I am still a very young composer so I am always changing the way I do things. I guess the best way to end my rambling would be to say that my process is (as you said) a bit of both intuitive/analytical writing; allowing the music to flow naturally but always being aware of WHY it sounds so natural. I used the x-fade but I do not have that "magical touch" lol. The subject of "performing dynamics" you mention is very interesting. I suppose it is the inexperience in me that I am sometimes unsure of what dynamic to write. For example, the low resonant register in the clarinet will usually sound a dynamic higher than written (I think lol). Seriously great suggestions, thank you.

  • PaulP Paul moved this topic from Orchestration & Composition on