Nice orchestration on this one. The dissonance and resolutions and the tonal blending necessary for them will make this one a good exercise for concert bands.
A personal opinion, and it may be a little biased from the mix, but it seems to over-feature the clarinets.
I noticed a few things on the ending, if you'll permit me to make a few listener's suggestions:
I think it needs a little percussion roll-off and cymbal crash at the end. Also, just for a better sense of finality, have you considered moving the final note on the first trumpet part from the fifth to the third of the chord?
Definately a nice funeral march to listen to (oxymoron?)
Thanks for listening Reegs,
I probably do often feature clarinets since that's my instrument...My percussion is always a sense of frustration. I begin with 5 or 6 percussion instruments and I can't get them to sound in Finale & GPO. I struggle in figuring out how to get each instrument to sound. Soooo I just wind up with only tympani which is easy to get.
In Music compositions, a difficulty level can be placed as to the level
Level I is a first year band level
Level II has more key/rhythm/range problems
Level III is a mid-level difficulty: probably a good Jr High Band,
Community Band. Smaller School band. More keys with changes,
some syncopation, more rhythm variations, wider ranges.
LEVEL IV & V increase each of the criteria, being on the college level
These levels may vary according to some publishers' assigned
p.s. This is mostly Mozart. I just made decisions about how to use it.
Last edited by garymosse; 02-27-2007 at 02:52 PM.
Reason: added comment
Nice concert band work. Good solemn sound just the right thing for a funeral. It would be an interesting challange of discipline for band given the slow paced nature of the work.
Originally Posted by garymosse
I begin with 5 or 6 percussion instruments and I can't get them to sound in Finale & GPO. I struggle in figuring out how to get each instrument to sound. Soooo I just wind up with only tympani which is easy to get.
I managed to get the percussion to work on instrument at a time. I write the percussion lines in treble or bass cleff and then slide a note up and down in pitch until I find the particular percussion sound that I am looking for. In some cases it is easier to assign one staff line per percussion instrument instead of multiple voices on a line, depending on the work. It is just a suggestion but I found it helpful for me to do it this way.
Clarinetist....you would check out some of the solo works for clarinet that I have posted in the forum the past few weeks
I've moved up and down †he staff looking for the correct sound
on numerous works, but it's an accident if I get it tot work.
I will give your suggestion a try.
I have listened to your works for clarinet. I love the Gpo solo
clarinert sound. It's not consistent thru the entire range, especially on fast runs, but that's often the case with live performances.
I just posted the ADAGIO from Mozart's concerto. I changed the
3/4 tempo to 6/8 based on how I used to teach it to my students.
It's easier to count and feel the beats.
Gary to Gary...