Mentoring Program

Bach's Screenplay Score

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Named "Bach's Screenplay Score" because of the mixture of a late 1600's instrument trio with a modern movie score. Brewed together, makes Bach's Screenplay Score.
Grade Level: 7
Intended For: Live Instrument Performance
Software Used: Noteflight
Instrumentation: Violin, Viola, Cello
Key: E minor/major
Meter Signature: 4/4
Tempo: 126
Status: Work in Progress
Noteflight URL: Website Title

Comments   

#7 Noah Samuelsen 2017-08-30 18:26
Okay, Thank you very much for all the help
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#6 Erik Nielsen 2017-08-21 11:05
Dear Noah,
Thanks for taking care of this. I went into the school site and was able to make copies of the individual parts, so you're all set. I'll keep you posted on when the performance is (we're aiming for January at the moment, so it's a ways off yet). It will be an exciting event and I can hardly wait to hear your piece performed in concert!

Best wishes,
Erik
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#5 Noah Samuelsen 2017-08-20 14:13
I did everything you asked
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#4 Erik Nielsen 2017-08-18 09:50
Dear Noah,
Now I feel even dumber! I missed the key signature change at C! Jeez Louise, I must be in a real fog about this piece. In any case, the sharp sign in cello in 38 isn't needed because of the key signature, so please get rid of it. And the violin does need a dynamic mark at the end of 19 or the beginning of 20.
I am a bit confused as to why you sent me a link to the Noteflight score in an email, since I don't see the changes I mentioned just now, nor do I see the parts, just the score. Please enlighten me. Thanks.

Best wishes,
Erik
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#3 Erik Nielsen 2017-08-18 09:08
Dear Noah,
Thanks for taking care of these issues. Let me help you with my confusing comment. What I meant was that I thought the violin was too loud in bars 5-23 since it was consistently at mf or f while the viola melody went from p to f. However, on reviewing it I think I'd leave it for now as you have it, since it's pizz. and on violin that doesn't tend to be all that loud. What I would do is decide on a dynamic for the violin at the end of the decrescendo in bar 19 or for the first note of bar 20 (p? mp?) and write it in.
I made a mistake in my advice by asking you to write a C# rather than a C natural at the end of bar 38 in cello. For some reason I kept thinking that this was a piece in B minor rather than E minor and that the C was sharp. Please get rid of the # for the C in cello at the end of 38 and chalk it up to senility on my part.

Once you've done these two little things, please email the score and parts as attachments to me at and you'll be done! Please let me know if you have questions. Congratulations.

Best wishes,
Erik
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#2 Noah Samuelsen 2017-08-17 13:25
Hi Eric It's Noah. I did everything you asked but I didn't understand what you meant by this: "Likewise, I wouldn't move the violin up to f at all during this section. I'd start at p at rehearsal A and move up to mp or at most mf in 5-23. Finally on dynamics"
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#1 Erik Nielsen 2017-08-02 11:35
Dear Noah,
I really enjoyed working with you last week. You have created a lovely trio that I find both impressive in its construction and beautiful. It ought to be enjoyed by both players and audience.
I have a very few follow-up comments, mostly to do with notes but I'll start with dynamics. I don't think that the cello needs to be at f from bars 5-23. It will be out of balance in performance with the other parts. I think p for the opening and mp for bars 5-23 will be plenty of sound. You can always ask for a bit more during rehearsal if you need it, but f sends the player the wrong signal, I think. Likewise, I wouldn't move the violin up to f at all during this section. I'd start at p at rehearsal A and move up to mp or at most mf in 5-23. Finally on dynamics, at rehearsal D I'd move the viola up to f to match the other instruments.

Okay, a few note issues. I know I recommended changing the cello's second eighth note on beat 3 in bar 19 to a C#, but listening to it, it just clashes with the viola B too much to suit me. I'd try this instead. Get rid of the second eighth note on beat 3 in cello completely and move the C# to the first half of the final beat of the bar. That will give the nice little scale feeling we were aiming for going down to the B on the downbeat of the next bar and it will break up the pattern a little.

Only two more things. In cello the switch from pizz. to arco will be tough going into rehearsal D, but I have a suggestion. Make the D at the beginning of final beat of 38 in cello into a C# and eliminate the eighth note on the second half of the bar. It will give the cellist a little more time to switch to bowing. Finally, those double stops on the final beat of the piece won't sound as good live as on computer. I'd get rid of the upper note in cello, the lower note in viola and I'd move the lower note in violin down from E to B for a fuller sound.

Noah, this is a terrific piece. Please let me know if you have questions about what I've written and let me know what you've done when you comment back to me. I look forward to seeing a new revision soon.

Best wishes,
Erik
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