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Topic: Florentiner Marsch

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  1. #1
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    Florentiner Marsch

    I entered this in Finale and on tthis site last year.
    I listened again and decided it needed work.
    After another 10 hours, here's a re-do
    Gary

    p.s.
    The march is by Julius ~~~ik(1872-1016) Also titled La Rosa de Toskana.
    One of ~~~ik's teachers was Anton Dvorak.
    I EDITED THIS TO SOFTEN THE DRUMS & FIX THE FINAL PICCOLO PART.
    I GUESS IF HE WERE ALIVE TODAY HE WOULD HAVE TROUBLE POSTING WITH HIS NAME.......

    hi-fi URL: http://www.soundclick.com/util/getpl...d=6116284&q=hi
    Last edited by garymosse; 05-22-2008 at 02:46 PM. Reason: re credit

  2. #2
    Senior Member bigears's Avatar
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    Re: Florentiner Marsch

    This sounds really good to me, with one exception. The horns and winds sound great, but I feel the percussion is a distraction on this piece. In my opinion, it could either be buried way back in the mix, or left out and the piece would sound better. Great work on this, it sound authentic to me, and I enjoyed it! Author Bill Bryson once joked that the Germans should have been required (at the signing of the Armistice ) to lay down their accordions as well as their weapons, but I would have to disagree, after hearing this fun piece.
    Regards, John

  3. #3
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    Re: Florentiner Marsch

    Thanks for listening, John.
    I confess that the drum part was mine...ergo my writing for percussion remains intact.
    Remember that ~~~ik was not German.
    It certainly sounds like a German march.
    Gary

  4. #4

    Re: Florentiner Marsch

    Hi Gary,

    Just wanted to say, very good. I cut my teeth transcribing this piece from a recording (arranged for Yamaha XG, think it's still on the site actually), so I know what's involved in it.. I've also *been* that percussionist when the band have played it :-) It's significantly more complicated than it first appears: you've got melody, counterpoint, harmony plus descant (in places) - quite a challenge.

    With reference to the other John, I would also quieten the snare at the start, or introduce more dynamic markings for it. At ff it rather sounds like a snare from a dutch street organ (NOT that there's anything wrong with that - I love those instruments). However as you get into the theme it quietens down a bit which is perfect.

    One last thing, at the end, where we've got melody, counterpoint and descant going off, the stereo image pits melody on the left, against counterpoint in the middle and descant on the right. I know this is to do with instrumental layout, but I would see if it would be possible to swap the counterpoint and the descant, so you've got (Left to Right): Melody - Descant - Counterpoint. That would be, to my ears, a more balanced image.

    However, that doesn't detract from the fact this is great work and a significant achievement.

    -John
    _________________________
    John Hawksley
    Composition & Arrangement
    http://www.hawksley.net/music

  5. #5

    Re: Florentiner Marsch

    Hi Gary,

    I remember some of your waltz arr - from last year!


    This Florentin marsch is perfect for being played at a Circus, with it's sarcastic untertones... lol!

    Regards,


    Fred

  6. #6

    Re: Florentiner Marsch

    Gary

    I also remember this piece and must say the rendering sounds much better. If I remember, before it sounded very organish and this sounds much better. The snare has a few machinegun hits in it, but that is hard to get rid of in a notation program.

    Overall a very nice rendering.

    Ron

  7. #7
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    Re: Florentiner Marsch

    Hi John,
    Thanks for listening.
    I still have thoughts of better linking in Finale between what reality dictates in each instrument's volume level and how it sounds in a program. For instance, the flute & piccolo often sound louder than cornets.
    I give soft levels to loud Finale instruments like flute, bass clarinet, horn & trombone, but can never get the projection I want from cornets or trumpets. Using the mixer; dynamics and even higher octave don't affect the result very much.
    I'm amazed at how many things have to be considered in the finished product. It's like a real live band performance(re panning)
    The resulting drum volume reflects the way I heard it during a period of time when the band I played in worked this piece. That beginning was one of the most chaotic openings I've performed.
    Gary

    Thanks for listening, Fredrik.
    I happened to hear an overture by VON SUPPE and was struck by the similarity of the medium. It seems that the emotional message projects a spirit of the late Nineteenth Century.

    Thanks for listening, Ron.
    I entered all of this by mouse: 60 staff; 300 measures and 5, 386 frames.

  8. #8

    Re: Florentiner Marsch

    Work pays off, Gary, work pays off.

    Fine job on this!

    You might want to have one last look at levels;
    as I seem to hear some faint crackle on it from
    time to time.

    My best,



    David
    www.DavidSosnowski.com

  9. #9
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    Re: Florentiner Marsch

    Thanks for listening, David.
    Strange, individual noises occasionally occur
    in my pieces. It's like some Gremlin sneaking in to my programs. It calls to mind
    a TV show about gremlins messing with jet engines in flight which cause the plane to crash.....
    Gary

  10. #10
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    Re: Florentiner Marsch

    Gary,

    I know this piece well having heard it many times by my low brass ensemble friends. Nice work on getting together with CMB. Personally I perfer the GPO snare to the drum line percussion for this piece.

    By the way, if you want to spell the composer's name, put a space between each letter and the checker will be fooled; F u c i k I had to do that with Entry of the Gladiators.

    Gary

    www.garybricault.com

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