# Tone Poem



## hdk132 (Mar 18, 2009)

Thought I'd throw it out and see if anyone likes it. I'm edging towards the so-called "holy" minimalists, albeit without the holy stuff. Finale-generated sound; 11:30 and won't work if you skip 


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https://soundcloud.com/user4409718%2Fanother-v6


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## Aramis (Mar 1, 2009)

It's not that bad when something is actually happening. It obviously doesn't include first one and half of minute. I don't think this part settles anything or that this simplicity can be excused by some other goal, not even the style - it's just nothing. Same with the ending. 

The flow cuts suddenly after 3:30.

What's this tone poem about anyway?


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## Vor Gott (Jan 26, 2011)

It has a nostalgic feeling to me, but I have yet to identify exactly which piece it reminds me of. The beginning section is beautiful, but it needs its separate parts distinguished further-perhaps a dynamic bass line or two with bassoon, contrabass or cello. It is fine as it is, but not when consciously observed. That is to say, it would preform its function efficiently as background music, but taken as a genuine work it simply lacks a bit of form a development which must occur in a section of this duration.

I wrote that before I listened to the rest of the song, and I have to say the relistening to it as a less classical piece (to which I am accustomed) has led me to "hear" it, if you will. I still believe that it would be more powerfully convincing if you were to experiment in the introductory section with minimal counterpoint. As in Bolero, the most famous example, you could simple pass the theme around, allowing instruments to rest or develop a variation behind the new carriers of the melody. Are unfamiliar with counterpoint and such associated terms? I certainly am: only now learning the theory as it is traditionally taught despite knowing it already from experience, but unaware of the terms. If you are then here is a good a place as any to start: http://en.wikipedia.org/wiki/Counterpoint

With this particular type of piece you might try a melodic inversion or something similar as, for example, Felix Mendelssohn does in the finale of his fifth symphony, "Reformation": http://imslp.org/wiki/Symphony_No.5,_Op.107_(Mendelssohn,_Felix)

Such a simple deviation may perhaps preserve the feeling you were trying to convey. I truly hope that I could help; this is such a lovely piece. I would love to examine it further as I am so intrigued by amateur techniques; do you have a midi file or a score which I could see?


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## hdk132 (Mar 18, 2009)

Thanks for the enlightened feedback. I agree that the initial section makes less sense than its image at the conclusion of the piece. Your response of nostalgia relates closely to the expression I was working off of, namely a sort of longing without fulfillment (hence the unresolved seventh). Unfortunately, the MIDI playback hinders displaying the feeling. You can't tell from the MIDI, but the seventh between the flute and oboe actually continues throughout almost the entire work, and I regard everything else as an embellishment. As such, the minimalist lack of counterpoint is intended on my part; I hope through a true recording this feature might more closely reach the fantastic expressive capacity of minimalist, and almost meditative, forms.

I'd love to share a score. I have it in finale format, perhaps I could email you an image?


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