Mentoring Program

Chaconne

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String Quartet, Piano. Starts slow and picks up for short time towards the end.
Grade Level: 10
Intended For: Live Instrument Performance
Software Used: Sibelius
Instrumentation: Strings, Piano, Glcokenspiel, Drums
Key: Cm
Meter Signature: 6/8
Tempo: Quarter Note = 80
Status: Work in Progress
File 1: application/octet-streamDownload

Comments   

#5 Erik Nielsen 2017-04-20 09:27
Dear Ethan,

Since the deadline for completion of all score prep was last Thursday, I couldn't afford to wait past yesterday to mail off the parts for Opus 32 to all the musicians. And that includes your piece. I took all Matt's suggestions and added them in, as well as including some things that were missed, such as your name as composer! I've created a folder on Drive that includes a .pdf and Sib. 6 version of the complete score. I've shared it with you and Matt as well as Sandi. I strongly advise you to print out the copy I made, as well as your own, since mine is the one the players are working from. There will still be some questions during rehearsal about dynamics but that can't be helped. It's a good piece and I look forward to hearing it performed at Opus 32.
There is one more thing that needs your immediate attention and that is the description of the piece going into the Opus 32 printed title and a two to three sentence bio. These need to be done ASAP so Sandi has something more to go on than what's there now.

Best wishes,
Erik
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#4 Ethan Duncan 2017-04-19 18:12
Hey Matt,

Here's the score with corrections.

Thanks,
Ethan
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#3 Matthew LaRocca 2017-04-04 10:18
Hey Ethan,

I’m very happy to tell you that you’ve been selected for Opus 32! Congratulations , and great work!

Let’s do some score prep to clean some things up…but you’re in really great shape already. The numbers below will be measure numbers.

1. You mark pedal in piano in other spots - no pedal in the beginning?

2-3. The slurs in the violin are too long. In general, at this tempo, you can’t slur more than a bar. This goes for the whole piece, so you should make sure your slurs don’t run over a bar in all the string parts.

9. Add a rehearsal mark

19. Add rehearsal mark and dynamics in violin 2, cello, bass.

26, Are the accented dynamics louder? If so, change those.

35. pedal in the piano? I would mark something like “pedal freely to make sure it’s pedaled.

35. Add rehearsal mark

43. Add rehearsal mark. I would also mark strings at piano rather than mp. to make sure the piano is heard.

51. Add rehearsal mark.

59. I would remove most of the slurs here as it’s much more powerful. the Slurs will sort of take away from that, and are difficult to do underneath the accents for the strings.

65. Move the end of the crescendo dynamic here. I would also to to FF or FFF. Not FFFF. And from 67 on, not a single slur in the strings. Add accents in the cello part too.

71. Add a rehearsal mark. 36 is very slow…almost too slow to sound. Text here would be more effective. Mark it at 40, and add the text “freely” along with any other descriptors you have.

73. Have the cello gliss start on beat 3 so the fermata on C lands on beat one of 74.

Remove the empty bar at the end, and no need for the fermata in the violin part on 73, save it for 74.

Drop me a line when you take care of all of this, and congrats again. It’s a very cool piece.

-Matt
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#2 Matthew LaRocca 2017-03-17 20:33
Hey Ethan,

This all sounds great. Love the harmony at the end, especially in m. 8 and 9. I’ve got some thoughts and questions for you.

-Generally, what’s the plan and feel you’re going for?

-No percussion for this Opus, so you can either switch the glock part to the piano in the beginning, or to pizzicato in the second or viola. Or do both - double a high piano part with pizzicato. It would be a cool effect.

-The music should be written in 3/4 - it’s too slow moving for 6/8, and doesn’t really feel like 6/8 unless is speeds up considerably.

-You have the same rising figure 7 times (C, Db, Eb) which initiates each phrase. It would be good to change this somewhere to reflect the overall phrase structure. It’s a little too much repetition.

-The glass in the cello t the end will be really effective. That’s very well written. At one point, if you have the same harmony, you should do the same glass an octave down on the cello, so it can do it to it’s open C string. That will sound even better. Glisses that land on open strings are really easy and sound great.

Other than that, keep going. I think the melody is effective and well written. It needs to be switched up soon, but it’s great for the opening. Where to next?

-Matt
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#1 Matthew LaRocca 2017-03-14 12:59
Hi Ethan,

Is this the new piece for Opus? I like it.

So you know, we don't actually have percussion for this opus. Just woodwinds, strings and piano. but the glock part is easily moved to the piano or pizz strings.

So let me know if this is the one, and then I'll give some more feedback.

Thanks,

-Matt
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