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Topic: Dies Irae

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  1. #1

    Dies Irae

    This is yet another work in progress. It is the fourth movement in a piece of music I am working on. Its not yet done, but I have already decided to call this movement Dies Irae (Day of wrath). Once you start listening to it, it will be plainly obvious why. It would definitely be a good idea to turn your speakders down before playing it as the piece starts with the brass playing long notes at full volume. Also bare in mind that this piece is as of yet unfinished. Anyway enjoy.

    http://mikemiller.dyndns.org/Recordings/unfinished2.mp3

  2. #2

    Re: Dies Irae

    Excellent, Mike!

    Day of Wrath, indeed; this is powerful, moving,
    dynamic work.

    David
    www.DavidSosnowski.com
    .

  3. #3
    Senior Member
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    Re: Dies Irae

    Mike,

    Pretty hopping piece, well named!!!!

    You may want to check your levels. Something sounds like it may be clipping a bit in the percussion.

    Gary

    www.garybricault.com

  4. #4

    Re: Dies Irae

    Hi Mike,

    just good! And for that clipping.... I didn't hear it, but I lowered the volume quite a bit. As they abandoned all gregorian chants from the catholic churches, it is just this one that sticks in everybodies mind. Liszt made his "Toten Insel" based upon those notes and many others also.

    OK, go on finishing this, please.

    Raymond

  5. #5
    Senior Member Tom_Davis's Avatar
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    Re: Dies Irae

    This is very interesting. I have to ask, is there going to be a vocal element or are you addressing it as instrumental only?

  6. #6

    Re: Dies Irae

    Quote Originally Posted by musicalmike235
    This is yet another work in progress. It is the fourth movement in a piece of music I am working on. Its not yet done, but I have already decided to call this movement Dies Irae (Day of wrath). Once you start listening to it, it will be plainly obvious why. It would definitely be a good idea to turn your speakders down before playing it as the piece starts with the brass playing long notes at full volume. Also bare in mind that this piece is as of yet unfinished. Anyway enjoy.

    http://mikemiller.dyndns.org/Recordings/unfinished2.mp3

    Excellent Mike! The percussion really moves this along. Well rendered too and not OTT. Keep us posted when finished as this is one I would like to return to.

    Regards, Graham

  7. #7

    Re: Dies Irae

    This is very interesting. I have to ask, is there going to be a vocal element or are you addressing it as instrumental only?
    Its only instrumental. But it would be really cool if in the distant future someone found a copy of this piece and tried to put words to it.

    Liszt made his "Toten Insel" based upon those notes and many others also.
    I just love that piece of music. But, I will never be able to match the skill of Liszt. Especially at the piano.

  8. #8

    Re: Dies Irae

    Nice start to this, Mike. I like the orchestration and the rhythmic accents. Everyone is right, the well known melodic motive is handle extremely well. Now, finish the unfinished so we can finish hearing the whole piece.
    [Music is the Rhythm, Harmony and Breath of Life]
    "Music is music, and a note's a note" - Louis 'Satchmo' Armstrong

    Rich

  9. #9

    Re: Dies Irae

    Quote Originally Posted by musicalmike235
    But, I will never be able to match the skill of Liszt. Especially at the piano.
    ... don't say that. With MIDi you can play better than Liszt (just kidding).


    Raymond

  10. #10

    Re: Dies Irae

    That was extremely powerful, well written! The introduction grabbed the listener and the rest didn't disappoint by any measure, this is a great start.

    There is one thing to watch for, though, and for this I have an extremely handy quote from none other than Rimsky Korsakov's Principles of Orchestration:

    "By glancing at the order in which the six orchestral groups are placed, strings, wood-wind, brass, plucked strings, percussion producing definite, and those producing indefinite sounds, the reader will be able to determine the part played by each in the art of orchestration, from the secondary standpoint of colour and expression. As regards expression, the strings come first, and the expressive capacity of the other groups diminishes in the above order, colour being the only attribute of the last group of percussion instruments.

    The same order obtains from the standpoint of general effect in orchestration. We can listen to strings for an almost indefinite period of time without getting tired, so varied are their charactaristics. The addition of a single group of strings will add lustre to a passage for wind instruments. On the other hand, the quality of the wind instruments soon becomes wearisome; the same may be said of plucked strings, and also percussion of every kind which should only be employed at reasonable intervals in orchestral composition."

    To summarize just exactly I'm quoting this for, my recommendation is to watch out for the use of percussion, because though it adds a lot of colour, too much colour in the beginning could make the rest bland! I view percussion almost like a drug; it's very easy to get addicted, and whenever you're without percussion, it just doesn't seem as thrilling.

    In my opinion, the best way to get around this is merely to take the rhythms and harmonize them in very strong marcato bass instruments, such as the cello, double bass, or tuba. I have no objections to the piece as it is, but this might be something to consider to add more oomph. Personally, I find a more powerful orchestration in the bass as opposed timpani (or especially with) makes for a much more powerful effect.

    But who am I to talk about effect? You got the Dies Irae feeling PERFECTLY, really good job on this! Hope to see it complete soon.

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