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Topic: 1E is now posted

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  1. #1

    1E is now posted

    I-E is the first version with no real problems. It is quite satisfactory as to all the basics. Try to understand WHY.

    But, it could still be a touch better: Here is where you start to learn the difference between GOOD orchestration and ARTISTIC orchestration.
    Alan Belkin, composer
    Professor of Composition
    University of Montreal

    http://www.musique.umontreal.ca/pers...n/e.index.html (links to examples of my music, as well as my online textbooks)

  2. #2

    Re: 1E is now posted

    I have two somewhat unrelated questions.

    Would it destroy the balance to distribute the violin I part amongst violin I and II?

    Also something I've always struggled with is where you draw the line between the composer's intentions and the orchestrator's liberties. For example the violin II line is conspicuously empty. One could come up with a counter line of some sort to add additional interest. Is that acceptable?

    Steve Winkler

  3. #3

    Re: 1E is now posted

    Good questions.

    1) Distributing the arpeggios between vln 1 and 2 would be definitely louder, although not impossible if well conducted. But this is supposed to be a background layer, so it would not be the best solution.

    2) There is no need in such a short extract to have everyone play. Of course in a real, full length piece you would indeed want everybody to have something significant, somewhere along the line.

    3) As for the issue of how far you can go, basically the answer is: in a transcription, you have respect what is most prominent in the original - melody, bass line and harmony, rhythmic movement - but you CAN make chages and additions to inner parts, accompaniment figures, etc.. And also add little extra touches to enhance the effect, as long as they remain subtle.

    Quote Originally Posted by swinkler
    I have two somewhat unrelated questions.

    Would it destroy the balance to distribute the violin I part amongst violin I and II?

    Also something I've always struggled with is where you draw the line between the composer's intentions and the orchestrator's liberties. For example the violin II line is conspicuously empty. One could come up with a counter line of some sort to add additional interest. Is that acceptable?

    Steve Winkler
    Alan Belkin, composer
    Professor of Composition
    University of Montreal

    http://www.musique.umontreal.ca/pers...n/e.index.html (links to examples of my music, as well as my online textbooks)

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