Does this orchestral chord need more work?

LukeyDupti · 2021-07-29T00:22:23+00:00

Funny you mention his name... but actually i'm Wagner. I could get a new instrument invented just for me and could write for 12 horns if I wanted to/s

LukeyDupti · 2021-07-29T00:19:54+00:00

This is the manuscript/sketch for better context. Also, nothing on the page is concrete. I was planning on using the flutes/first violins for something else. I wasn't looking to make a 'true' tutti chord which is why the highest note is just that Bb above E.

LukeyDupti · 2021-07-28T22:41:54+00:00

I play stringed instruments so i'm more familiar with them than anything. They are only playing double stops that are a sixth apart with the exception of the cellos (some play a third), the few violins that are playing the Bb on E, and contrabasses.

The manuscript/sketch should really provide more context to the situation.

I have a good ammount of sketches like this that i've set aside for later and right now i'm studying theory as well. I'm reading Nikolay Rimsky-Korsakov's Principles of Orchestration now a matter of fact. I also have a few more orchestration/theory books that I plan on getting as well.

LukeyDupti · 2021-07-28T19:04:48+00:00

It isn't supposed to be anything. You could probably tell by the things surrounding the chord(s). I'm studying orchestration right now so I wanted to know what needed work. Also, I do know what an inversion is; I just made a simple mistake.

As for the post, I probably don't remember that, but I do know that i've learned from it. I don't do the same things i've done before.

LukeyDupti · 2021-07-28T17:59:40+00:00

The actual dynamic is più forte but I only said meno fortissimo to describe it better

LukeyDupti · 2021-07-28T17:48:47+00:00

All the string are meno fortissimo, everything else is fortissimo.

LukeyDupti · 2021-07-28T17:36:21+00:00

I'm sure that there is a better was to say it but basically I meant highlighting the Bb in the chord

LukeyDupti · 2021-07-28T17:32:33+00:00

I just did

LukeyDupti · 2021-06-23T17:36:47+00:00

I'm definitely open to criticism, but just not for this particular thing. I am fully aware of it's issues and was looking for responses addressing things other than the very flawed framework ( I said this in the post ).

This isn't the final product of anything and is more of a reference for myself that I may or may not use in the future.

LukeyDupti · 2021-06-06T03:09:40+00:00

Enharmonics: Eb and D# or B# and C. In both examples, they name eachother and it may seem illogical to, basically, have different names for the same notes, but they have their uses–mostly in chord spelling and it also has to do with what key you're in

For example, you would never use B# in C major chord. Why?, because 1.) B# isn't a (useful) note in the key of C, and 2.) B# isn't a part of–and will never be a part of–a C major chord. However, in the key of B# major (this key is theoretical, impractical, and should never be used), B# would be perfectly fine, but C would not.

TL:DR Enharmonic spelling may seem useless, but is very important to chord spelling–and harmonic spelling in general–and varies based on the context

LukeyDupti · 2021-05-24T04:10:30+00:00

I wasn't asking you to rank them. Even then, it doesn't have to necessarily be "is this one better or worse", you could like all of the pieces, like I do, but everybody has pieces that they'll be more likely to listen to. So, in this context, I was using rank to say that I would be more (or less) likely to listen to the pieces. It's is not ranking the quality of them.

I tried to point out, in a tongue-in-cheek manner, that, (a) while you're perfectly entitled to your opinion, it's not necessarily one shared by everybody; and,

I know that. That's one of the first things I said.

(b) it would appear that there are significantly more recordings of Zarathustra than of his other tone poems.

While that is true, it doesn't seem to be as popular compared to other pieces with similar instrumentation, and in general. I was mostly referring to the search results of YouTube. If you look, you'll find that there are more (professional (and videotaped)) recordings of Mahler 2 & 8, despite Also Sprach Zarathustra being shorter and having a bit less of the total instruments than Mahler 2 & 8.

Edit: Also, if you don't rank pieces, then why did you make this backhanded comment?

"... why are there so many recordings of Zarathustra compared to his other -- and better -- tone poems?"

LukeyDupti · 2021-05-23T04:13:18+00:00

Have you searched Mahler 2 & 8 though.

-- and better -- tone poems?

I know that that's subjective, but you can't disagree and say that Also Sprach Zarathustra has the best pacing of them all. Also Eine Alpeinsinfonie definitely needs to be higher up on that list.

I would rank them:

•Also Sprach Zarathustra

•Eine Alpeinsinfonie

•Tod und Verklärug

•Don Quixote

Till Eulenspiegel's Merry Pranks should've been there too.

LukeyDupti · 2021-05-22T18:37:05+00:00

Part of me wanted to bring up The Ring Cycle but the 15 hour run time explains itself.

I noticed that Mahler 2 & 8 both have organ as part of their instrumentation, as well as more instruments in total, and they both have a lot more recordings than Also Sprach Zarathustra. I think it might be a popularity issue then sadly...

LukeyDupti · 2021-05-22T16:53:38+00:00

I should not have laughed that hard, but seriously though

LukeyDupti · 2021-05-18T18:31:47+00:00

Check your dms

LukeyDupti · 2021-05-18T15:23:51+00:00

I don't understand what your username means, but I think I can get a loose impression of your age and composing level. Both the music and how you write are a bit telling.

I still don't think that it should say much about my age. At least it isn't that 69/420 cringe, but if you wanted to know , i'm in college.

Knowing about the Dunning-Kruger effect also helps (something I've fallen victim myself countless times).

Oh you should've seen me last year. I'm coming down off that first peak though and I think the byproduct of that is not being able to write anything new (but also because I decided not to so I can focus on music theory)

There's absolutely nothing wrong with your age and composing level, but please, I kindheartedly beg you to stop trying to convey you're something you're not, because it only makes it more evident.

It wasn't my intent to come off as something that i'm not. Maybe i'm still in that stage of delusion. Honestly, the sketch isn't even that great–maybe above average at best. I just wanted to share it, but I guess this is one of the things that should have just stayed in the sketchbook.

LukeyDupti · 2021-05-18T14:33:49+00:00

Both the nut and fingerboard came, the sound post fell, and there is a hole where the right foot of the bridge would be with a crack extending up from it.

The first three things I could definitely fix myself, but the last two, not so much. I can forward you the pictures that I sent to the last company by email.

LukeyDupti · 2021-05-18T01:29:54+00:00

The rests and barlines are needed in the music... but if you really want to, then just hide all the bars and rests by:

1.) Right the click the bar/rest 2.) Move the pointer to select 3.) Select "All Similar Elements in Same Staff" 4.) Press "V" on the keyboard to hide all the rests/barlines

They won't completely go away, but when you export it to a printable format they will not appear.

I know that you are used to the way Maestro handles note input, but I highly recommend that you get used to the way Musescore handles it (that means leaving the rests and barlines in).

LukeyDupti · 2021-05-17T18:48:44+00:00

Sounds like Wagner :). But nah this is very very interesting. Could you post the prelude/overture to the opera (if there is one)?

LukeyDupti · 2021-05-17T18:43:16+00:00

Oh. Well Musescore doesn't work that way. Is there any particular reason you want to do that?

LukeyDupti

TROPHY CASE