# La Follia Orchestration



## ScipioAfricanus (Jan 7, 2010)

http://www.noteflight.com/scores/view/988119badaef79de4981408ad61ad905805b2891

the above is what I came up with.


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## Novelette (Dec 12, 2012)

It depends on the style you're going for. From the score, it looks like you composed it in the "traditional" way--that is, in a manner consistent with the 18th century and early-to-mid 19th century.

If that's so, then be sure that the supporting harmonies support the syntax of the melody; measure 20 is a good example:

The melody rests momentarily on the third scale degree of the major dominant--A Major--but the bass rests on C-natural while second violin's accompaniment goes from E --> C-natural --> E --> A. To harmonize the melody more consistently, the C-natural's should be raised a semi-tone.

When composing, always be especially mindful of what is to follow. Still speaking of measure 20, raising the bass by a semi-tone would generally call for an alteration of the bass tone that follows in measure 21. Sharpened tones "tend" to resolve upwardly: an old practical rule-of-thumb [although expressive considerations often override this "rule"] states that sharpened tones "resolve" upwardly and flattened tones "resolve" downwardly. A C-Sharp generally "resolves" to a D, which makes sense as C-Sharp is the leading tone.

I like how, throughout the work, when you have composed multiple arpeggiated accompaniments, you set the arpeggios in opposite directions [contrary motion]. And I'd like to single out the second violin part in measure 19 for especial attention:

You handled the distribution of rests perfectly. The eighth-note C is followed by an eighth-note rest, and then by a quarter-note rest. People frequently deploy rests carelessly, one would often find a dotted-quarter-rest in place of what you have here. A quarter-rest--dotted or otherwise--should not be placed in a syncopated position.

Some curious rest placements exist: measure 17 has three quarter-rests instead of the singular full-measure rest. In measure 42, in the second violin section, the terminal tone is a half-note rather than a dotted-half-note like the others--intentional? Then there is the post-cadential extravaganza of rests in the viola section. LOL.

A good disclaimer, though: music really isn't circumscribed by iron rules. As the composer, you have great liberty to compose your music in a way that best expresses your vision or sentiment. Most of what I mentioned is consistent with _normative_ practices, which should not be looked upon as unbreakable laws. My most important rule about the duties of a composer: your work should accord with your personal tastes!

Those are just a few thoughts...

Stylistically, I would diversify the viola, cello, and bass parts. Passing tones could substantially create a more logical, that is, forward momentum. I like how you shared the melody among all of the instruments, save the bass. But they can also contribute a great deal in their harmonies, more than simple supporting flourishes or sustained tones; these instruments have unique acoustic colors to them, avail yourself of their special voices.

Keep it up!


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