This is the second solo flute piece in the set hot off the presses. I've linked to the first one also in case you want to hear them back to back (as they are intended).
You'll hear the weakness of recording straight from Sibelius in this. The trills don't sound good at all. Just a side note, Overtones of Spring uses the overtone scale. If you're not used to that scale the piece might sound a little strange.
Dorian Blossom is very nice, especially for a notation program. The trills in Overtones of Spring need some work, but it can be done. If you bring this into a sequencer, it may be possible to acheive a better trill than just entering notes in a notation program. Also the use of VAR variability and the legato pedal will acheive better realism. Otherwise a convincing performace. This has potential for being used in the Audition. Thanks for posting this.
The only thing you're missing is the sound of the valve covers slapping during the stonger quicker passages (unless they are there and I can't hear). Otherwise, I enjoyed every note and envy the way you can program something so natural performance sounding.
This sounds very nice, even with the "Sebilius trills". For some reason this reminds me of Bach, at least the begining. Nothing to do with the music, but I also like how you incorporate the mode or scale name into your pieces.
With a few minor changes these could sound truly excellent. In addition to the suggestions already made about using the legato mode for the trills (pedal up for the first note, pedal down for the rest of the trill) I would mainly give your player more room to breathe. There are some breaks in these pieces but they are mostly very short (forcing your player to do a “catch” breath) and far too infrequent. Try using shorter phrases and larger breath spaces. A good trick to test your phrasing is to breathe along with your virtual player. Take a good breath prior to the beginning and gradually release a comfortable flow of air as the passage progresses during playback. When you start to feel as if you are running out of air you should find a musically logical place in the passage to add a breath break. Then continue on with your next breath to find the best place for the next break, and so on. Excellent players can indeed play long phrases but, most of the time, it is best to keep the phrase lengths comfortable for the player. The result is usually more musical too. It will certainly sound more natural. Years ago I would record myself taking a variety of different kinds of breaths (slow, relaxed breaths; quick catch breaths) and insert them into appropriate places in exposed solo instrument sample mockups. I did the same for keyclicks on woodwind instruments. You’d be surprised at how much more believable an instrument can sound when you think you are hearing natural breaths and keyclicks. You might want to try adding some breath sounds to exposed solo pieces like these for that extra touch of realism.
Thanks guys. Great advice!!! Tom, I love the idea of recording the keyclicks and breaths. That is very cool. I don't prep pieces for recording much, I'm very fortunate in that I get to hear most of my stuff live. However, you guys have been so encouraging that I'm finding myself more inclined to work on the electronic details.