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  • Premonition for String Trio

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    Hi all!

    I recently completed Premonition for violin, viola, and cello. It's a dramatic work with distinct moods that emerge throughout, along with some virtuosic string technique (which VSL's samples were able to perform with flying colours!)

    As always, I hope you'll take a moment to listen and comment if you feel so inclined.

    Premonition for String Trio by David Carovillano

    Regards,

    David


  • Hi Dave,

    What exactly is your presentiment by this piece? To me it looks like an elaborate experiment with lots of (unusual) playing techniques and articulations. But you've managed to shape an interesting piece of music with them. It's never disturbing or in other words, I never had the impression that I was listening to some technical try-out. It is a real varied composition with fine harmonic findings. It shows your knowledge of the instruments and the courage to go a step further than the 'traditional' techniques wthout shocking the audience. All the used techniques build a organic unity with the piece (they don't seem far fetched and experimental at all).

    I really enjoyed the listen. Well done!

    Jos


  • Hi Dave,

    I enjoyed listening too. For me a very good thing is the way the strings perform. I sounds natural in my ears, all three instruments, and that is not an easy job to do. Very well! Congratulations.


  • Hi Jos and MMKA, Jos: I am grateful for your feedback; you have expressed your desire to see more feedback from our community on compositions by fellow forum members, and you're leading by example, always offering poignant thoughts and analysis. I actually very much appreciated your words, because they reflect my goals with this piece: offering a slightly broader array of techniques and a more adventurous harmonic language, but still remaining in the tonal realm...for me, new music does not have to be completely "indigestible" or so expermental that it fosters a complete disconnect from the listener. As for the title, I often choose a title after writing the piece, based on what image it conjures up. In this case, I chose "Premonitions" first, and allowed myself to explore the sometimes dark thoughts I have about my own future in music (reconciling my love for composition with the lack of opportunity/public apathy/indifference, etc. etc.) MMKA: thank you. I feel the sound of the strings in this piece is my most convincing to date and continue to push their potential as I learn more about working with them. It's definitely an ongoing process! Dave

  • You're welcome Dave.

    As for the forum, it's quite obvious that it can't function without participation of the members and that's always a mutual activity. If you never bother to comment on new submissions, don't expect reactions on your own work. That's the way all forums function. And there's another important matter: listening to good examples by advanced users has a didactical advantage and can speed up one's learning curve. It's simply a win-win-situation.

    And again, I hope that your string trio will be picked up by interesed chamber musicians. It's certainly worth it!

    Jos


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    @Jos Wylin said:

    You're welcome Dave. As for the forum, it's quite obvious that it can't function without participation of the members and that's always a mutual activity. If you never bother to comment on new submissions, don't expect reactions on your own work. That's the way all forums function. Jos
    I don't know...not commenting on others' work, but always receiving tons of comments for his music seems to work for one composer on this forum. Also, it seems that famous film composers also benefit from this phenomena, although a few of them might be horrified to see the way in which they're discussed on this forum 😊

  • Hi Dave,

    I do agree, but what I expressed was the way a forum SHOULD function. And I didn't say yet that the VSL-forum has different sections to which different contributions/items can be posted. This section deals with composition, orchestration and (VSL) instruments, NOT with plagriarism, thievery, falsifications etc. of non VSL usres and professional film composers. It's not the right place to express our opinion on these matteres here. (No matter how valuable they might be.) Some effort to comment fellow members' creations/mockups would be welcome, to the advantage of everybody.
    But let's not hack this section to complain...

    Jos


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    @Acclarion said:

    Hi all!

    I recently completed Premonition for violin, viola, and cello.  It's a dramatic work with distinct moods that emerge throughout, along with some virtuosic string technique (which VSL's samples were able to perform with flying colours!)

    As always, I hope you'll take a moment to listen and comment if you feel so inclined.  

    Premonition for String Trio by David Carovillano

    Regards,

    David

    I just listened to this piece for the second time. I previously listened and commented on another forum. Once again I am so impressed by the cello. A very well written part for the cello (one of the instruments I personally played) and I would have loved to have played this trio when I was actively playing. This rendition with VSL instruments once again shows that VSL instruments are really superb for classical music.

    The composition itself is interesting as is, but could be even better with a more obvious structure, in my opinion. As I am sure you know, but other readers may not, musical structure depends upon a careful mixture of new material and repetition of previously heard material. I believe that as composers, we often underestimate the artistic significance of the musical structure. Anyway, just my two cents. I enjoyed the piece, and very much enjoyed the midi-performance.


  • Hi Paul, Thanks for your comments here. You may have missed my reply on the other forum to your comments, which I'll paste below, not to convince you that you're "wrong" but to illustrate my viewpoint: I guess with regard to form/structure, the overarching motives/themes are not as readily transparent as Eine Kleine Nachtmusik, but I definitely try to incorporate subtle motives that are developed and transformed during the piece. Further, rhythmic patterns and harmonic progressions can be utilized to add cohesion to a piece without the need to necessarily follow for instance, a sonata allegro form. I'll often even bookmark a piece with the opening phrase used to conclude the piece. That's not to say I haven't written numerous works with a more obvious form (Classical Follies for String Orchestra, Awakening for Piano Trio, Cantus Quintus for Brass Quintet are a few such examples) but I never allow myself to be constrained by conventional musical elements unless I feel that's the direction I want to go from the start. You may also want to check out my newest violin and piano piece on that other forum...it very clearly develops a motif introduced in e piano throughout the piece whose structure is more readily apparent. Hope this sheds some light on my thought process, David Carovillano

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    Hi David,

    We are trading comments on different forums. That is so funny and so 21st century! 😊

    I did respond to you on the other forum just moments ago. But that is good, as it will put your post back near the top of the Members Compositions section, so perhaps you will get more listens. 


  • LOL!  Yes, we live in interesting times where making eye contact with an individual is considered odd, when you can text each other on phones, standing in the same room.

    Your points are absolutely spot on.  I can only speak for myself when I say, sometimes I try different approaches to telling a musical story, and as I do write in a fairly tonal language, compared to many modern composers that lose all sense of tonality/rhythmic/harmonic structure, I take some liberties in other areas, so that my music doesn't always sound formulaic.  That said, you gave the piece two listens, which is one more than most people would; another reason why your suggestion for having a more clearly defined form is important, as most people aren't willing to "live with the music" long enough to uncover it's quirks and charms.

    Thanks again, Paul, for offering your very valid ideas.  I appreciate it :)

    Dave

    p.s.  consider this my response on the other forum as well!


  • PaulP Paul moved this topic from Orchestration & Composition on