# Symphony No. 1 (1st movement)



## musicrom (Dec 29, 2013)

Hello,

It took a while, but I finally wrote my first movement to a symphony. But before I move on to really continuing, I would like your guys' opinions and critiques. This helped me last time, when I posted the first movement to my Viola Concerto, and I think it could help me for this piece as well.

I will attach the score and an MP3 file, and you can listen on SoundCloud if you like:


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https://soundcloud.com/musicrom1%2Fsymphony-no-1-movement-1-final-draft

View attachment Symphony No. 1.mp3

View attachment Symphony No. 1.pdf


_(Ignore if the title of the score says Symphony No. 4... it was the 4th "symphony" I started, but the first where I actually got anywhere)_


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## Vasks (Dec 9, 2013)

I believe the 16th note violin appegiations at mss. 49-50 are going to be next to impossible to do at MM=180.

The flute in mss. 153-155 will be covered up.

You need to designate the first entrance of Horns 1 & 2 as to whether both play (a2) or only one (and therefore which one). In fact throughout you'll have to designate which horns are to play a2 or not when only one line/notes are shown. This is not only for the players to know what to do but also to determine whether your horn scoring is too much or OK. 

The dissonance of m. 59 seems out of place.

The notation of Fl2/Vn2 in m.108 is wrong. You'll have to take the 8th note "C" and make it two tied 16ths so the end of beat 2 and the start of beat 3 is easily seen.

Overall I found the rhythms too square/simplistic at the beginning. It's only around m.90 that they get more interesting. Consider in the early part chopping off a downbeat note or adding a tie here or there. A stronger rhythmic profile is needed and that means being more imaginative. Don't settle for the easy way...unless you're under a time deadline ;-)

There are other small things I could mention but time does not allow me to point them out. Just keep working at it!


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## musicrom (Dec 29, 2013)

Thanks for your review, Vasks!



Vasks said:


> I believe the 16th note violin appegiations at mss. 49-50 are going to be next to impossible to do at MM=180.


Yeah, I was kind of worried about that. I'm mostly going for the effect rather than the notes, but being only a mediocre viola player, I'm not exactly sure what a more manageable sequence of notes would be at that tempo. Not that that's a valid excuse - that's definitely something I need to figure out.



Vasks said:


> You need to designate the first entrance of Horns 1 & 2 as to whether both play (a2) or only one (and therefore which one). In fact throughout you'll have to designate which horns are to play a2 or not when only one line/notes are shown. This is not only for the players to know what to do but also to determine whether your horn scoring is too much or OK.


I kind of forgot once I started composing that there were 4 horns, and just assumed I had 2 in my score. Oops. 
I've never seen the "a2" thing, and I have no idea how to notate which horn I want to play what. Could you possibly explain, or give me an example of a score that uses it?



Vasks said:


> Overall I found the rhythms too square/simplistic at the beginning. It's only around m.90 that they get more interesting. Consider in the early part chopping off a downbeat note or adding a tie here or there. A stronger rhythmic profile is needed and that means being more imaginative. Don't settle for the easy way...unless you're under a time deadline ;-)
> 
> There are other small things I could mention but time does not allow me to point them out. Just keep working at it!


Rhythm is definitely an important part of composing, and something I tend to neglect, and I probably need to think about it more. I did intend for the rhythm to be very simple in the beginning of the piece, so that the piece could kind of slowly grow from nothing to something. I understand where you're coming from though, and sometimes when I listen to it, the beginning seems too slow and motionless, but other times I think it's just right for what I'm going for.

Once again, thanks for your review, and I've definitely taken into account your advice going forwards!

I'd appreciate more commentary from others that have any.


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## Vasks (Dec 9, 2013)

You actually wrote a 3rd trumpet part on the first page. ;-)

Now for the Horns (or any like instruments that share a staff). If the first notes of your score are to be played in unison by both Horn 1 and Horn 2, you can write "a2" above the first note and it will stay good until they split into two different notes. Or you can assign each note two stems; one up (for Horn 1) and one down (for Horn 2) until they split into two different notes, in which case you don't need the "a2". If only one player is to play the first notes, then you designate it "Hn. 1" or "Hn. 2" above the starting note. However stem directions (up for Hn 1; down for Hn 2) plus whole measure rests for the one not playing is advised as well

Below is what all that would look like:


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## musicrom (Dec 29, 2013)

Vasks said:


> You actually wrote a 3rd trumpet part on the first page. ;-)
> 
> Now for the Horns (or any like instruments that share a staff). If the first notes of your score are to be played in unison by both Horn 1 and Horn 2, you can write "a2" above the first note and it will stay good until they split into two different notes. Or you can assign each note two stems; one up (for Horn 1) and one down (for Horn 2) until they split into two different notes, in which case you don't need the "a2". If only one player is to play the first notes, then you designate it "Hn. 1" or "Hn. 2" above the starting note. However stem directions (up for Hn 1; down for Hn 2) plus whole measure rests for the one not playing is advised as well
> 
> ...


Thanks for your help, Vasks. This is my first piece for a full orchestra, and with no formal training in composition, I need to know these things. I just want to make sure I understand correctly..

- "a2" signifies both horns should play; alternatively, I can put the stem in both directions to indicate the same thing
- with multiple notes, the top and bottom parts are assumed to be one note for each horn
- if only one horn plays, I write "Hn. 1" or "Hn. 2" and must also put in the rest for the other horn (?) Or is that not necessary?


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## Vasks (Dec 9, 2013)

musicrom said:


> This is my first piece for a full orchestra, and with no formal training in composition, I need to know these things. I just want to make sure I understand correctly..


No apology is needed. You asked for "_advice & opinion_" and I've given some. Have you noticed that fewer & fewer other TC composers are giving "advice" than say a year ago? I'm not sure exactly why but I suspect it's because the budding composers express not wanting suggestions for improving, but only hugs and kisses for their pieces.



musicrom said:


> - "a2" signifies both horns should play; alternatively, I can put the stem in both directions to indicate the same thing


 *Yes*



musicrom said:


> - with multiple notes, the top and bottom parts are assumed to be one note for each horn


*Yes*



musicrom said:


> - if only one horn plays, I write "Hn. 1" or "Hn. 2" and must also put in the rest for the other horn (?) Or is that not necessary?


 *The rest and correct stem direction is highly desirable*

*Remember the above is for all like instruments that share a single staff; not just Horns.*


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