My Third Symphony (WIP)
https://musescore.com/user/183710/scores/1015736
This is the first 2 minutes of my third symphony, for orchestra and 9 tenors.
Please comment on it. Whether it is good or bad, I would be happy to know.
The piece is meant to be atonal. The tenor voices are chosen the playback of aah choir and solo vox, but unfortunately the solo vox sounds turn into piano on the musescore.com site (??)
Comments
Okay, let me just say you've had moments of absolute brilliance. When writing atonal pieces, it's critical to make each note fit together with the entire piece. If one note sounds out of place, the piece will collapse. Anybody can make an atonal piece. However, only about 2% of the atonal piece makers actually create music. Otherwise, it sounds just like dissonance. I actually felt like I was listening to Beethoven, (I'm giving you a compliment). It's just that, there are some parts where the notes fit out of place. You're doing a great job. I'm impressed.
In reply to Okay, let me just say you've by Elwin
Thank you for your reply!
I would just like to ask if you could point out specifically which note(s) you think is/are out of place.
As the composer of a piece I have listened to it hundreds of times, and I found that the more I listened to it, the less I can figure out which notes are out of place or should not be there.
In reply to Thank you for your reply! I by wilson.wong.58
measure 22 could use tweaking. so could measure 24. That's all I could find. You're doing great.
In reply to measure 22 could use by Elwin
Have made the tenor accompaniment of the two bars louder and doubled them with clarinet.
In reply to Have made the tenor by wilson.wong.58
By Tenor, do you mean the voice tenor or the Instrument tenor?
You are right... maybe I need some time to figure out how to change it
But, anyways, thank you
The voice, in particular the lyric tenor with shorthand Ly.
I was "inspired" by Mendelssohn and let soloists accompany the orchestra
In reply to The voice, in particular the by wilson.wong.58
It's really good now. I like it. Get it Published!!!!!!!!!
Initially I found it strange to listen to but it gradually drew me in and I began to really enjoy it. Your technical ability in music is obviously excellent but what most impressed me was your imagination. The music feels like a journey where a theme struggles to emerge and take the music in a particular direction whilst other complementary themes are showing that, like life, its not as simple as that. In other words the music may be atonal but it is not chaotic or disjointed. Your choice of instruments is very good and I liked the understated use of percussion.
In reply to Initially I found it strange by Voir49
Thank you very much. I love your interpretation of my symphony. I would not write any more music for a while, until I have more free time to think and listen and imagine.
Sounds like an orchestra tuning turned into a composition. Like the bends around measure 100, and the "Pretend to play these notes" direction a bit further. Everything fits together very well. Seems like there should be some sort of text to be read along with it.
In reply to Sounds like an orchestra by JGitar
Oh, a text... do you have any suggestions lol.
Well that kind of "pretend" direction was from Schnittke who wrote some cadenza music for the string section and asked them to pretend playing something fast and exuberant by mere bow movement and silence. Humor in music is just great.
In reply to Oh, a text... do you have any by wilson.wong.58
Like poetry maybe.
I know that if a flutist plays notes without blowing, they are audible, if you put your ear up to it.
After listening through all nine minutes, (You only provided the first 2 before), I realized this could be the overture to an actual opera. Now, what are the 9 tenor fachs you used? This piece is amazing.
In reply to After listening through all by Elwin
Oh the 9 facher are as listed, except that I have renamed full lyric tenor as Kavalier, Mozart tenor as Noble, and for haute-conte, leggero and light lyric tenor, historically they have the same repertory but I have made some distinctions on their timbres. Haute-conte is allowed to use falsetto, leggero is expected to sing with full voice with coloratura, the light lyric tenor sings with a Pavarotti / Calleja kind of voice, or Bocelli-type voice. He is not expected to sing above the high C normally,.
Wilson, brilliantly done. I thought of Stravinsky. Would be a great score for a movie.
Technically way beyond my capabilities, now and forever. Must be a bear to play, with those wild changing time signatures.
What is your background, may I ask?