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The Young Wizard - live recording

Discussion in 'Critique & Feedback' started by Francesco Bortolussi, Aug 14, 2019.

  1. Hey all!
    This is a really special moment for me, as I get to share with you another piece I've recorded with a live 50-piece orchestra!

    This was part of the GEMS summer programs 2019 in Madrid: in these 12 days I had time to write an orchestral tune between classes and I got to record it with the Spanish orchestra Mad4strings. When I finished it, I got the opportunity to have none other than Pete Anthony to look at the orchestration (both a genius orchestrator and a super funny guy).
    It was such a great and special moment for me I'm still buzzing for it, even though the whole thing happened about a month ago!

    There are some problems with the orchestration and with the recording, and I can talk about all the compositional and orchestrational decisions for hours; I have a million things that I could tell you, since I've got about a million little surprises from the live performance. But I'd rather let the music speak for itself for now (and maybe I can elaborate more in a few days).
    I mixed it myself, so I hope I didn't totally ruin it with my questionable mixing skills.

    I'll put the score here: https://www.dropbox.com/s/mghuldlztt533ya/Full Score - young_wizard.pdf?dl=0

    Paul T McGraw and Mattia Chiappa like this.
  2. Congratulations Francesco!

    There is really no book that can teach you as much as listening to what the orchestra plays when you wrote something. Fun piece and I like the ambivalent downbeat.

    There's a lot notational to look at, if you want to improve the look of your score. First of all there is some weird horisontal spacing. Try selecting the entire score and (since you are using Sibelius) select Reset Note Spacing. Okay, now notation:
    - Timpani alone doesn't take a bracket or brace
    - I don't know what you're time signatures are attached to but they are too high. They should hang on the flute and violin staff respectively and not above.
    - don't use simile. Today we just write it out. 'Sim.' is short hand.
    - Harp bar 6: If you want the player to dampen the string before the next note use the dampen sign. Otherwise just write the notes as simple as possible with no ties and write 'l.v.' in italics above. Also pedalling (not necessary here) goes above the staff.
    - Player numbers on instrument names should follow subsequent pages. It should say 2 Fl. or Fl. 1,2 for example.
    - Flute bar 13 (and elsewhere): slurs should extend to the last notehead of any tied notes belonging to the slur.
    - Div. is always followed by unis. – not tutti.
    - tbn. bar 25: Dynamics are always placed under a note - never a rest. Move mf to the next note. Also here I wouldn't use the hairpin across rests.
    - hn 3/4 bar 29 (and elsewhere): missing dynamic.
    - generally I never tie tremolo notes in strings but I know people do it.
    - woods bar 32: bow??
    - tbn bar 30/32: Instead of writing a2 I would write a unison in up- and downstem.
    - timp bar 30: just make it a dotted quarter note. Next bar should be a dotted quarter note and an eight note (again I wouldn't tie those)
    - cb. bar 34: make the two first notes in a slur. In general you are using to long/many slurs in the strings.
    - hn 3,4 bar 40: write it in two voices and make voice one a dotted half note.
    - hn 2 bar 45: e is a quarter note.
    - hp bar 67: Here I would just write the first g and the high g on the next bar with just the pedalling and slur.
    - hp bar 71: no slurs. Slur means gliss on harp.

    Hope this makes sense :)

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