This is certainly a pretty and classically grounded piece. It's rooted in Mozart and other composers of that era, and doesn't offer musical surprises as such, but rather it's peaceful and elegant in a way that doesn't disturb our preconceptions about what this sort of thing should sound like.
I'm especially curious about the context in which it's heard in your musical. The tone is sedate and formal--Is that taken ironically in the show, or is it to be a straight waltz scene,-or?--(fellow composer for the stage, hence my particular curiosity.)
You asked for feedback on the recording itself. Along with Larry and Gunther, I think over-all it has a natural sound to it. However, the tympani rolls are consistently mechanical--I think perhaps this has been done in a notation program?
If I'm correct about the notation program, you may want to investigate expanding this recording with an audio/MIDI program, if you're interested in getting the most realistic recording to be used for playback in performance. Some people manage to get rid of all notation generated mechanicalness, but it seems like it's difficult to do--especially with things like Tympani rolls which are achieved with the insertion of data rather than actual playing.
Recording a Tympani in GPO inside a program like Sonar makes it easy to achieve natural results, without the dreaded machine-gun effect. The way the Tympani in GPO is cleverly programmed to play left and right hand hits 2 octaves apart makes for real-time playing easy, and with a touch of editing, you have good, believable rolls, more successful than what you have in your waltz.
Due to the strict nature of the style you're going for here, the rather perfect performances from your virtual orchestra seems appropriate most of the time. Your balances sounded good, and I felt you had a nice amount of reverb which indicated space without washing out the sound.
In agreement with and in addition to Randy's comments, I might
also suggest a bit more work with dynamics, tempi, articulation
and phrasing -- the four horsemen of live performance, these are
likewise the elements most critical to realism in rendering. Even
the most seasoned musician faces rather an eye-opening education
in this medium concerning just how much is not on the page of a
typical score; and how very much a good "performance" depends
on translating the nuances of conducting and musicianship into the
details software needs to create convincing recordings.
Put more basically: software's dumb as a bag of dead flies; you
have to tell it absolutely everything... lol -- and it's something
each of us struggles with continually.
The piece itself, I found quite charming and well written!
Thanks for the feedback gentlemen. I'll take your suggestions and see if I can make a few more tweaks to help the realism of the piece.
About the production--the musical is called "Once Upon a Thyme" and is all original script, lyrics, and music by my wife and myself. We recently had our premiere performance and are now preparing the production for sale to the general public. The wallflower waltz is a 'background' piece during a royal party scene where the prince and princess to be meet for the first time. There's dialog going on during this piece so it is intended to be unassuming. Some people are dancing while others are doing dialog during this time. It has been an amazing experience and even more rewarding to have the production actually performed!
Thank you so much for telling us more about the musical you and your wife have written, and the context for this waltz.
I have a much clearer picture now of how this waltz works--Great! Perfect for what you described--a dance, but with dialogue that needs to be focused on at the same time. To have the music "unassuming," as you put it, is exactly right.
I don't think you'll need to do much more tweaking to have the recording work the way you need. I hope you can humanize the tympani rolls more, that will help. But the piece really is lovely as it is.
Will you be posting more numbers from your show? I hope so!
I'm so happy for you, that you've had your premiere production! I have an original musical and I've been in the process of posting the numbers from it here in The Listening Room. I hope you have the chance to hear some of it as times goes on.
Unfortunately, our local community theatre is hesitant to do a show that hasn't been done before. I proposed the show last year and was turned down, and they're currently in the middle of deciding the new season. I've pitched the show to them again, but it looks like the tried and true will win out again--"Guys And Dolls" in fact.
You say you're preparing the production for sale to the general public. What exactly do you mean? You're working on having it published?--or produced professionally? Or are you thinking of marketing the book and score to theatres on your own?--If so, do you have a plan for going about that? Having this project of my own makes me naturally curious about what other people are doing with their properties. I hope you can tell us more sometime.