Comments from the latest competition

[Kevin]

Kevin,

Below are my markings and notes for the competition works:

Three Pastoral Pieces – 1 – Would be interested in publishing

This small suite of works fits together so well. The first movement “The Aesthetes” sets up a great ostinato in the bottom three parts over which a nice flowing melody soars. This evolves into some very interesting flows of 16th notes that get passed seamlessly between the voices before a reprise of the original theme and some quiet chords to end upon. The second movement “The Barbarians” feels like a victory celebration. The chief (horn) sets up a melody that is picked up by the other musicians and is passed around until everyone is tired of partying and falls asleep. The third movement “The Bohemians” is another dance, this time led by the cornets and soon joined by everyone. This mixed meter shindig has a chromaticism that leads me to believe that our revelers are getting a little bit tipsy. This party ends a little differently than the last; in a super long chromatic dance where everyone gets so drunk that they fall over (at least in my head).

My only regret for this work is that it is not for standard brass quintet instrumentation. Perhaps we can include Horn in F, Trombone, and Tuba parts when we publish it, but I can work that out with the composer.

Andantino – 2 – Would be interested in publishing
Consonant solo for Euphonium. This is a good choice for contest work, as it showcases both the euphonium’s range and versatility. The piece is technically fulfilling in its leaps and its surprisingly challenging 16th note runs. The melody passes seamlessly between the solo line and the accompaniment leading up to a small cadenza and a big finish.

Christchurch Variations – 3 – Would be interested in publishing

As the title suggests, this is a set of variations on the Christchurch hymn. The first variation is the closest to a hymn with quasi-organ chords in the piano part with the trombone providing the melody and flourishes. The second variation is a bit brighter and more playful, with small fanfares played out in the trombone and echoed later by the piano. The final variation and finale has a march-like feel in the keyboard contrasted by the smooth melody in the trombone. It brings back the fanfares from previous variations and ends on a quiet note.

How Suite it is – 4

Very impressionistic with difficult syncopations and themes that bounce between parts. Probably pretty difficult even for a graduate level brass quintet. Tests all ranges of each voice, with some particularly high stretches for Trumpet 1, Horn, and Trombone. The composer does pretty well giving each player a measure here and there to rest their chops, but endurance is going to be an issue over the course of this work.

Dwark King - 5

For Brass Quartet. This sounds like a bunch of dwarves got together and started pounding on a keyboard. This would be almost impossible to play, even for a professional ensemble. The ranges are extreme and there is no place to stop to catch your breath. The combinations of tuplets make counting and keying off the other parts almost impossible. I’m usually a fan of mixed meter, but I’ll have to pass on this one

[Kevin]

Andantino: A good opening idea, but then it becomes very ‘samey’. It’s a very nice melody, but there seems very little in the way of expression – perhaps that is because it is an electronic performance? There seems no real idea of changing the key. Yes, there’s a shift of a tone but no return to the original pitch, and it’s not at all adventurous. The piano part seems to be very dominant – not in the sense of being loud, because it is obviously not notated that way, but in how the music moves. The euphonium (apart from that opening motif is very much a secondary part. The piano certainly has more control of the dynamics than the euphonium and I feel this might be a weakness. I really feel much more could have been done to develop that opening arpeggio idea, which only makes six further appearances at intervals throughout the piece. And then mostly in the piano.


Christchurch Variations: Very clearly influenced by Bach chorales the opening sounds very ‘churchy’. It’s a long time before the soloist comes in. The progression is very solid and Germanic, though the soloist’s obbligato does lessen this a little. There are one or two places where the soloist jars against the piano which seems a little odd. I seriously wonder if any trombonist on a slide instrument could play as legato as this when we get to the quavers (eighths). The 3/4 variation is dramatically different to what has come before (or after!) Definitely NOT churchy. The change of key to the tonic major doesn’t really sound like a key change. It’s just a fairly subtle shift in tonality.. I’m not sure what the repeated notes achieve, musically speaking. Yes, it is a new idea, but then you don’t do anything with it. Nice end to the variation, though. There are a few SNAFUs appearing in the score (collisions and layout issues, mostly.) Some much needed changes in tonality appear in the next variation, not always cleanly managed. The ‘tramlines’ in the soloist indicate a complete cut. The ones in the piano would be taken to mean little more than a breath. Some dramatic dynamic variation going on as well. The final variation starts well, but the repeated notes, based on the previous variation don’t really work for me. They seem an unnecessary addition to an otherwise very fine set of variations. The transition from I to J is not the best feature. The repetition of the material with very slight changes at J seems redundant. It doesn’t move the music on, in fact it creates a moment of stasis. I wonder if this was your intention after the speed of the waltz? Letter K starts really well. It’s motoring along. You could do so much with this! I’m not sure about letter L. it seems a bit disconnected from the previous music. A new idea before you have finished developing your previous one. M-O has so much potential. It’s as if your ideas are finally starting to grow, but you cut it short and return to the opening material. Sadly we have come all the way to the end only to be left wanting! The music so far has been building towards a climax, only to have it peter out at the end! What should have been a roar was merely a whimper! If you want a quiet ending, then leave the soloist out of it. Or let him do it alone. Either would be much more effective than this.


The Dwarf King: A somewhat different style of writing here. Finely controlled rhythmic impulse and dissonance. This piece is dramatic and often startling. One can almost see the gnarled, foreshortened and grotesque Dwarf scuttling about in his halls full of mountain gold. However, I’m not clear how this would sound on real instruments. It is worth noting that the playback has not responded to several of the ‘open’ commands at letter D, so the trumpets still sound muted to the end. I have to say, I find the lack of bars rest very disconcerting. I appreciate we’re from a very different musical world, but still! I find the use of quartal harmony quite appropriate and the imitation between the parts also contributes to enhance the imagery. As with other scores there are one or two collisions that need sorting out between systems and an occasional (superfluous) hairpin, but nothing major. It’s unfortunate that Sibelius makes a hash of the final cresc to fff.



How Sweet...A very highly competent piece of brass writing, using a good balance of dissonance and resolution, consonance and contrast. There’s a good ‘forward motion’ to all the parts and a coherence in the writing not heard in the previous pieces. I’m not entirely convinced by the horn gliss (it’s written as a fall, but rises? Not sure what is going on!) about 1’33”(bar 38)! it just seems to come out of nowhere and go nowhere! I’d have been happier if it had been echoed in at least one other part. Interesting rhythmic contrasts starting about 2’00” nice “driving” feel to this section. The second movement continues the dissonant theme. Again, the trumpet glisses at about 3’25” don’t add anything to the music. The melodic material seems quite occluded by the harmony – almost as though it is not as important – at least until the rather nice tuba part at about 4’30”. The start of the 3rd movement with its bird-like repeated notes and rhythmic dancing drive is very entertaining and the thinner textures are much more interesting. Some lovely chords in this movement. The final coda section is also very interesting. It’s a pity the software doesn’t play the jazz articulations very well, but your intent comes across despite this. I’m not convinced by the ending, though. It seems a little flat compared to everything that has gone before. I know the old adage “Leave them wanting”, but this is just cruel!
The first movement, though shaped by classical harmonies seems to explore the use of dissonant pedals. Held until the harmony resolves around them, as if ‘striking a pose’. The second movement uses Dorian and mixolydian modes to make the music sound like a Gaelic folk song. In the absence of drums, the cross-rhythms in the accompaniment provide a rhythmic impulse. I can’t help feeling the tempo should be faster, less ‘measured’. The change to the major-sounding mixolydian mode changes the whole feel of the melodic material. I’m not sure how successful the gradual fading is – maybe it should continue to get louder until the end? The third movement has a very dramatic opening with a cadenza for the top cornet. The 5/8 (and other irregular timesigs) help give the music a rhythmic drive and the ‘three-legged tune’ provides a bit of coherence to what otherwise might be a disjointed work. IMHO there’s probably a little too much scale going on in some places but reliance on a trope of familiarity never really did any harm, did it? The ending is a tad abrupt, but satisfying.

[Joseph]

maybe the person making this second set of comments can suggest where or if they refer to either of the other pieces beyond The Dwarf King? I can guess but it would be helpful to be sure.

[Kevin]

I will email. I spent time trying to find the join!

[Joseph]

Apr 3, 2018 12:53:18 GMT Kevin said:

"I’d have been happier if it had been echoed in at least one other part."

I must apologize as I had the wrong piece in mind when I responded . . . to that end I will go back and look more carefully at the comments.  Still, grateful for your time commenting . . .


OK, got it (two entirely different works written in close proximity not separated by my brain!).  My initial comment about the horn "rip" (in this case a "doit" in the terminology) really was just something I liked in the middle of nowhere - but I agree, it might have been echoed or repeated. My mind set was if it gets repeated, is the repeat gratuitous, even as the single display might seem gratuitous?  As far as the trumpet glisses, I considered a quick chromatic connection of the octave 5ths (does that make sense?) but my intent for the entire piece was to approximate the third stream genre.  In the case of the glisses I chose the more jazz-like sound, the falls.  Finally, you make valid points regarding the Coda.  I just felt there had been enough commotion throughout the work and a little easing down was in order.  I am sure on any given day I might've gone the other way.  Great comments, thank you very much.  I will, as with all commentary, keep them in the forefront as I move on. 

[Kevin]

Apr 3, 2018 16:24:08 GMT Joseph said:

maybe the person making this second set of comments can suggest where or if they refer to either of the other pieces beyond The Dwarf King? I can guess but it would be helpful to be sure.

Edit to post made Joe.

[Deleted]

Christchurch Variations: Very clearly influenced by Bach chorales the opening sounds very ‘churchy’. It’s a long time before the soloist comes in. The progression is very solid and Germanic, though the soloist’s obbligato does lessen this a little. There are one or two places where the soloist jars against the piano which seems a little odd. I seriously wonder if any trombonist on a slide instrument could play as legato as this when we get to the quavers (eighths). The 3/4 variation is dramatically different to what has come before (or after!) Definitely NOT churchy. The change of key to the tonic major doesn’t really sound like a key change. It’s just a fairly subtle shift in tonality.. I’m not sure what the repeated notes achieve, musically speaking. Yes, it is a new idea, but then you don’t do anything with it. Nice end to the variation, though. There are a few SNAFUs appearing in the score (collisions and layout issues, mostly.) Some much needed changes in tonality appear in the next variation, not always cleanly managed. The ‘tramlines’ in the soloist indicate a complete cut. The ones in the piano would be taken to mean little more than a breath. Some dramatic dynamic variation going on as well. The final variation starts well, but the repeated notes, based on the previous variation don’t really work for me. They seem an unnecessary addition to an otherwise very fine set of variations. The transition from I to J is not the best feature. The repetition of the material with very slight changes at J seems redundant. It doesn’t move the music on, in fact it creates a moment of stasis. I wonder if this was your intention after the speed of the waltz? Letter K starts really well. It’s motoring along. You could do so much with this! I’m not sure about letter L. it seems a bit disconnected from the previous music. A new idea before you have finished developing your previous one. M-O has so much potential. It’s as if your ideas are finally starting to grow, but you cut it short and return to the opening material. Sadly we have come all the way to the end only to be left wanting! The music so far has been building towards a climax, only to have it peter out at the end! What should have been a roar was merely a whimper! If you want a quiet ending, then leave the soloist out of it. Or let him do it alone. Either would be much more effective than this.

These are interesting and astute observations for which I must thank you - whoever you might be. For your interest the piece was composed over a couple of days to give the trombonist and pianist time to rehearse prior to a music competition in Christchurch NZ. It was written as a favour for the 11 year old trombonist son of a friend of mine - they both wanted something original - I did ask them 'Do you want it good or by Friday?' and they said they wanted it both good AND by Friday - cheeky devils. Anyway, in the time available it was the best I could do....and I particularly like quiet finishes (as a bit of a reaction to the much asked for American(?) 'stinger' finish) but realise this has always been a personal quirk of mine. You make some good suggestions for potential improvements to the piece and, with a bit of leisure time approaching, I'd be more than happy to revisit the piece and perhaps make it a bit more coherent here and there. I guess I could have made some of the above clear in the programme notes but felt I should have the courage to leave it as it stood - the result being that I now have some erudite recommendations for improvements for which, again, I am most grateful. Thank you.

[mikelyons85]

So, Kevin, what happens now?

[Kevin]

I have been in touch with the publisher about either leaving a post, PM or email to the composers that he would like to use. Just waiting to hear back about that. Once that is done and you have established contact it is over from this end. Hopefully you will be able to keep in contact, provide him with more music and develop things from there. Did you see that he would like a standard orchestral brass ve soon of your piece Mike?

[mikelyons85]

Hi Kevin, thanks for this.

I did note his wish for trombone. Not sure how the semiquaver runs will happen on trombone unless it's a valve one!

We'll see. In any case, all the orchestral parts are there in bass clef already.

M

[Deleted]

Kevin,
Are we to discover the name of the publisher some time soon?
Stephen

[Kevin]

Of course Stephen, it is Watertown Brass

www.watertonbrassmusic.com/

[mikelyons85]

If we haven't heard from them soon, should we make contact directly?

[Kevin]

I will try again

[Deleted]

I've emailed them directly twice and received no reply....are they acting like literary publishers and just being plain arrogant, rude and ignorant....? Surely not because they're American and I've always found Americans to be well mannered and polite. Something's going on (or not going on as the case may be).

[Kevin]

I have emailed a few times. I shall now check for interest with another brass publisher.

[mikelyons85]

Twas ever thus!