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Topic: Luxembourg - Movement II (KOWALSKI)

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  1. #1

    Luxembourg - Movement II (KOWALSKI)

    Here is the second (of three) movement for my symphony in miniature.

    Luxembourg Movement II

    Instrumentation (GPO/JABB):
    1 Clarinet
    1 Bass carinet
    1 Soprano saxophone
    1 Alto saxophone
    1 Horn
    1 Tuba
    2 Violins
    1 Viola
    1 Cello
    1 Bass
    Piano
    Vibraphone

    Here is the previously posted Scherzo movement, which will be the finale. I will post the first movement along with the score when everything is done. The deadline is coming fast!
    Last edited by Skysaw; 06-13-2007 at 07:28 PM. Reason: Updated link
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  2. #2

    Re: Luxembourg - Movement II (KOWALSKI)

    Good morning, Jamie

    I've been looking forward to this, more from your Luxembourg project--Thanks for keeping us abreast of your progress. You must be getting some adrenalin rushes as the deadline approaches!

    Completely engrossing! Wow I like this so much. Fantastic work with the strings! I'm not at all sure how you got that much aggressiveness out of them--Lots of cc1 work for one thing?

    In general, I know I prefer music to have a pulse, a movement forward, rather than to stubbornly avoid rhythm and pulse like some compositions seem to display--And this certainly has an engaging pulse to it which I appreciate.

    Big rounds of applause--You're doing amazing work, Skysaw.

    Randy B.
    (rbowser)

  3. #3

    Re: Luxembourg - Movement II (KOWALSKI)

    Hello Jamie,

    It's always a source of admiration for me that you
    unerringly succeed in saying so much with so few
    notes, my friend. And by this, I do not necessarily
    imply minimalism; but, rather, economy... each note
    has purpose, and none shall be sounded that does
    not.

    The voicing and orchestration of this, however, was
    what brought a broad and satisfied smile to me; the
    color work in this is brilliantly conceived... I believe
    I listened through this about a dozen times, just
    fascinated with it.

    Bravo, Jamie! A very beautiful piece, both in its
    tenderly delivered impact, and in the perfect lines
    of its bones and sinews.

    May we look forward to the score on this one!

    With admiration,



    David
    www.DavidSosnowski.com
    .

  4. #4
    Senior Member rpearl's Avatar
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    Re: Luxembourg - Movement II (KOWALSKI)

    Jamie,

    Love the way this opens, and then develops repeated motif as it is revoiced/re-instrumented (hey, I made up a word!). The piano is a great touch, and lends a kind of poignancy to the movement. The spare quality is wonderfully done - I imagine that it will be even more effective live, as the sounds are passed around the orchestra.

    Great job!

    All the best,
    Ron Pearl

    Website:

    ronaldmpearl.com

    myspace:

    http://myspace.com/rmpearl

  5. #5

    Re: Luxembourg - Movement II (KOWALSKI)

    Quote Originally Posted by rbowser-
    Good morning, Jamie

    I've been looking forward to this, more from your Luxembourg project--Thanks for keeping us abreast of your progress. You must be getting some adrenalin rushes as the deadline approaches!
    Thanks, Randy. I must be known out there as the guy who always submits on the last possible day, but I'm really wrapping things up now. Probably still need another week to finish the score prep, but I'm on it!

    Completely engrossing! Wow I like this so much. Fantastic work with the strings! I'm not at all sure how you got that much aggressiveness out of them--Lots of cc1 work for one thing?
    Thanks, I'm glad you are enjoying it. The strings are 2xstrad + gofriller + gpo vla (though I'll share my "fake viola" with you for the first movement). The aggressiveness is all in the velocities... and it doesn't take much.

    In general, I know I prefer music to have a pulse, a movement forward, rather than to stubbornly avoid rhythm and pulse like some compositions seem to display--And this certainly has an engaging pulse to it which I appreciate.
    I'm with you on this one. There are some things with less of a pulse that does work, but my writing doesn't go that direction often.

    Big rounds of applause--You're doing amazing work, Skysaw.

    Randy B.
    Thanks again, Randy. I very much appreciate your listening.
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  6. #6

    Re: Luxembourg - Movement II (KOWALSKI)

    Thanks for the update, Jamie--Don't miss that deadline!

    And thanks for the explanation of what you did with the strings. I don't know why, I was thinking it was all with GPO strings. Of course, with velocity work in the much more complex and responsive Strad and Gofriller, this is a good example of the dynamic effect one can get. Great!

    Randy B.
    (rbowser)

  7. #7

    Re: Luxembourg - Movement II (KOWALSKI)

    Quote Originally Posted by etLux
    Hello Jamie,

    It's always a source of admiration for me that you unerringly succeed in saying so much with so few notes, my friend. And by this, I do not necessarily imply minimalism; but, rather, economy... each note has purpose, and none shall be sounded that does not.
    Ok, I'm going to share with you my new insight on this subject. This is something you've commented on before, and also something I've always struggled with. For me, the secret seems to be to write the piece, then to go back and cut, cut, cut! Cut out the fat. Cut out the doublings that aren't needed. Cut out thick harmonies, when one or two notes suggest the same thing to the ear.

    One thing I've been doing while putting together sections in my sequencer is to mute each track while playing it through, to see if the piece is better served without it. It shouldn't matter if I've put 10 minutes or 10 hours into those measures... if they're not adding to the piece, they simply shouldn't be there. I'll even try muting what I was considering the main melody (or "hauptstimme" if you prefer). Often I find that it was the least interesting thing about a passage! It really comes down to finding the barest set of requirements to convey the message.

    The very best model for this kind of thinking is Bach's writing in his Six Suites for Unaccompanied Cello. What that man could boil down into a single voice is astonishing!

    The voicing and orchestration of this, however, was what brought a broad and satisfied smile to me; the color work in this is brilliantly conceived... I believe I listened through this about a dozen times, just fascinated with it.
    Thank you, my friend. I especially appreciate this as I was greatly resisting the use of the two saxophones. I simply didn't know what to do with them! It's a very unusual group of instruments, and not one I might have selected myself. I feel I fell back on the piano and vibes quite a bit to bring it all into my comfort zone. I hope it doesn't feel too weighted in that direction.

    Bravo, Jamie! A very beautiful piece, both in its tenderly delivered impact, and in the perfect lines of its bones and sinews.

    May we look forward to the score on this one!
    Thanks again, David. The score will appear along with the first movement, when I can put everything up all together. Probably in another week or two.
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  8. #8

    Re: Luxembourg - Movement II (KOWALSKI)

    Quote Originally Posted by rpearl
    Jamie,

    Love the way this opens, and then develops repeated motif as it is revoiced/re-instrumented (hey, I made up a word!). The piano is a great touch, and lends a kind of poignancy to the movement. The spare quality is wonderfully done - I imagine that it will be even more effective live, as the sounds are passed around the orchestra.

    Great job!
    Hi Ron!

    I appreciate the kind words.

    Believe it or not, the the entire piano section in the opening, and its return later were very late additions to this piece. I wasn't sure where the whole thing was going, but while waiting for the project to open in Sonar, I was doodling on the piano and came up with that melody. I wasn't even thinking of how it might fit into the piece... I was just doodling. Then on a whim, I threw it in, and everything started to make sense.

    Funny how things like that happen, eh?
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  9. #9

    Re: Luxembourg - Movement II (KOWALSKI)

    Good piece, I like the way you used the strings for a delay type effect in the beginning and also appreciated when it bottomed out with that low piano and string bit. Nicely done.

  10. #10

    Re: Luxembourg - Movement II (KOWALSKI)

    Well done Jamie. Looking forward to the next movement. Really like the way you handled the vibes and saxes. Your instrument combinations will give small ensembles a chance to include otherwise "less used" instruments. This will give rise to their popularity with small groups and, perhaps, more composers will include them in their writing.

    Jack
    Jack Cannon--MacBook Pro (2015, 13") GPO4/5, JABB3, Auth. STEINWAY, YAMAHA CFX, Gofriller CELLO, Stradivari VIOLIN, COMB2, WORLD, HARPS, PIPE ORGANS, FINALE 2014.5, Mac Pro 2.66 GHz CPU, 8 GB RAM, DP 9.5, MOTU Traveler, MOTU Micro Express, MacBook Pro (2012, 13") 2.2 Ghz CPU, 8 GB RAM.

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