# Symphony No. 3 in F Movements 1 and 2



## maestro compositore

This is my newest symphony... up for submission to the ludwig symphony orcherstra and the ayso orcherstra as of tomarrow.. tell what you think..

as awalys

Tearduct


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## Someguy

I like it.


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## maestro compositore

really? any complaints?


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## Someguy

Nope i like it a lot.


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## emiellucifuge

Score please?


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## emiellucifuge

Let me explain.
Listening to it, it sounds like it goes nowhere, you have some good ideas but i think you need a tighter structure to keep the piece moving - there are too many frequent stops! and i dont hear much develpoment. 

I have considered that this is due to the recording, or maybe youre not even in sonata form. So therefore, in your interest I would like to see the score, maybe harmonic movement will make up for lack of thematic movement.


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## Ignis Fatuus

emiellucifuge said:


> Let me explain.
> Listening to it, it sounds like it goes nowhere, you have some good ideas but i think you need a tighter structure to keep the piece moving - there are too many frequent stops! and i dont hear much develpoment.
> 
> I have considered that this is due to the recording, or maybe youre not even in sonata form. So therefore, in your interest I would like to see the score, maybe harmonic movement will make up for lack of thematic movement.


Not even in sonata form! Gosh!
I also felt like it stayed in the same place for a long time (in terms of key). But I still liked it.


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## emiellucifuge

I know blasphemy isnt it?


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## maestro compositore

They are most definatly both in sonata form.. as far as thematic movement I assume you are reffering to the first one? I will try to post the scores..


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## maestro compositore

which movement would you prefer to see first?


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## emiellucifuge

2nd movement please


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## maestro compositore

ok one second..


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## maestro compositore

ok go to my profile page.. it will be under albums..


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## emiellucifuge

Thank you, back soon


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## maestro compositore

anything esle? anyone?


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## Nathand

I like it. I think it could be developed more, but even so it's still really great. Good work.

- Nathan


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## maestro compositore

Thank you!! anything particular needing improving?


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## maestro compositore

The Score to movement two and one...

http://sites.google.com/site/mccadesmith/file-cabinet


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## chillowack

I couldn't open either of these sound files for some reason.

Are you the former SenorTearduct?


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## emiellucifuge

Ok well the soundfiles dont seem to be working.. anyway:

1st movement:

Seems to be in sonata form to me, there isnt much development though, too many new ideas occur during the development. And the recapitulation seems almost non existent. Maybe if i listen this will change.

Key changes seem very odd, theres a sudden jump to Bflat for example without much preparation. Maybe if i hear it i will change my mind. However there does need to be some logic behind modulation, and they need to serve a purpose. Are you just passing through the keys? Then dont fill in a key signature.

Some dynamics seem a little weird, did I see a 'fffff' ?

Orchestration - it seems like you consider the different sections of the orchestra as things that are impossible to blend. A key part of orchestration is doubling, two instruments (a violin and oboe perhaps) will add an entire different character to the same notes. Things move between the sections in giant blocks, one block in the strings, then one block in the brass etc... Try to blend them into eachother, a tuba can easily accompany a violin and clarinet that interchange melody. Call & answer is possible between part. In general try to use the orchestra more fluidly, you are allowed to change timbre as often as you like.

Part 2 following soon, and im sure I will have more once I can hear it


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## maestro compositore

The sound files are odd indeed... Ill post them one the site... the pdf for the first movement was messed up.. ill fix that... the forte-is-is-is-ismo is only refrecened to the timpini part in which i found the drowning sound to be an appropiate transation... 

Yes, you would be correct chillowack.

Key changes? haha Bb was never a key in the piece... (transposed instruments... look at the piccilo line or violin lines to refrence the keys) The keys go as follows for the first movement F ( exposition) C (development) F (recap) and still in F for the coda/tuba solo


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## emiellucifuge

Ah ok my mistake in that case. Still FFFFF is not realistically possible to perform, unless the F is quiet.

Any problems with the other comments?


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## emiellucifuge

Also, Im not actually sure which movement I was referring too, its the one which begins Adagio then goes Allegro and has triplets throughout. 

In this score I do see a B flat major key signature in bar 61


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## maestro compositore

the logic in this case is pretty basic...I-V-I
The logic to the second movement is along the lines of i-I(reletive major)-IV(D)-Vii (g)-- i-I--i


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## maestro compositore

Ya.. the f is pretty quite givin the size of the orcherstra i wrote for so i should still simplify to a fff...

Oh haha i was wondering and yes that is the second movement i was thinking you reviewed the first...

and yes your correct, but its not bb that its in.. its in g minor.. same key sig though


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## maestro compositore

Oh and no other problems.. other than as far as the modulating I use the key signitures to help the players and critiques pinpoint the clean sections of the sonata form.. not to say all of my sonatas are clean cut.. but these two are because in later movements parts become increasingly hard to distinguish... and the orcherstration is sectonizized because the 4th movement (out of 5) is a fugue i added into the neo-classical symphonic order.. I was hoping this "sectioned" first two movements would allow a blended contrast with the minuetto and fuga... to lead to the finale (almost complete) where the I came up with an entirely new form of sonata where the first subject of the exposition is the entire expoisition of a fugue.. and the fugal subject then becomes once again present whenever the subject is called upon in the sonata form.. but it acts still as a full fugue but just broken up by the secondary subject and transitional material (which sometimes acts in a stretto for regressing into what would be an episode.. but isnt due to the sonata outline...


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