Updated version of My first arrangement

[I MARCH]

can u help me out http://www.box.net/shared/xtrnmu2dc3

[takigan]

What experience do you have with music theory (classes, personal study etc.)?

 

Just curious, before I say anything.

[I MARCH]

  takigan said:

What experience do you have with music theory (classes, personal study etc.)?

 

Just curious, before I say anything.

well im in my second year of theory im only in high school and that's all. Tell me anything don't try to butter anything up

[takigan]

You said this is an arrangement. I don't really recognize the source, so what song/piece is your arrangement based off of?

 

For starters, I feel like this could survive on its own as a 10 piece brass ensemble. You don't really need the bell parts. They're sort of distracting and would probably be covered up by the brass in a real performance anyway.

 

Msr. 16 (1:00) you modulate to Eb. Since you stay in this key for the remainder of the piece, I would suggest changing the key signature here (you may have already done this, it just may not have transferred in the MIDI I understand). That way you don't have so many accidentals scattered all over the score for the second half.

 

Msr. 21-24 (1:19 - 1:34) I love what you do here. That final chord that you work up to at 1:28 (measure 23) sounds like one of those park and yell power chords like you hear in drum corps. It's basically a Major IV chord "with a bite" (essentially a Major 9th). The "rejected stepbrother" note here would be the 9th ( Bb ) in the Trumpet who gets slapped around by the C of the chord. I think either the Bb or the C should be in the Horn part since the unique tone character of a horn really adds color to this clash under these circumstances (can't decide which). I'd also have the Tuba play a low Ab here instead of a C to give the chord some foundation. That's just me though, you may choose to leave the C if you feel it's detrimental to the sound you're hearing in your head. Play with it and see what you prefer.

 

Msr. 28 - You're missing a beat in the 2nd Trumpet. I see a group of quarter triplets and a group of eigth triplets....you're short a group of eighth triplets. You'll want to do 2 sets of quarter note triplets instead of a group of quarters and a group of eighths (the 1st Trumpet would have a quarter triplet group on beats 3 4, with the first 2 notes being rests and a quarter note on the last beat of the Triplet). Also, I notice the 2nd Trumpet hands the passage off to the first Trumpet at the end of the measure. You may consider sharing this whole triplet line with all the Trumpet parts (passed off between them-) and moving the 3rd Trumpet part down into the horns. Just an idea.

 

Msr. 35-39 (2:25 - 2:34) Great cadence. Looks like you took a similar chord to what you used at the last major impact point (or, this may be the original composer's doing if it wasn't your idea....still cool and well scored) I notice the final chord only spans 2 octaves....you may consider adding an octave or 2 in the Trumpets and Tubas to make it sound more resilient, but that's up to you.

 

Nicely done.

[I MARCH]

  takigan said:

You said this is an arrangement. I don't really recognize the source, so what song/piece is your arrangement based off of?

 

For starters, I feel like this could survive on its own as a 10 piece brass ensemble. You don't really need the bell parts. They're sort of distracting and would probably be covered up by the brass in a real performance anyway.

 

Msr. 16 (1:00) you modulate to Eb. Since you stay in this key for the remainder of the piece, I would suggest changing the key signature here (you may have already done this, it just may not have transferred in the MIDI I understand). That way you don't have so many accidentals scattered all over the score for the second half.

 

Msr. 21-24 (1:19 - 1:34) I love what you do here. That final chord that you work up to at 1:28 (measure 23) sounds like one of those park and yell power chords like you hear in drum corps. It's basically a Major IV chord "with a bite" (essentially a Major 9th). The "rejected stepbrother" note here would be the 9th ( Bb ) in the Trumpet who gets slapped around by the C of the chord. I think either the Bb or the C should be in the Horn part since the unique tone character of a horn really adds color to this clash under these circumstances (can't decide which). I'd also have the Tuba play a low Ab here instead of a C to give the chord some foundation. That's just me though, you may choose to leave the C if you feel it's detrimental to the sound you're hearing in your head. Play with it and see what you prefer.

 

Msr. 28 - You're missing a beat in the 2nd Trumpet. I see a group of quarter triplets and a group of eigth triplets....you're short a group of eighth triplets. You'll want to do 2 sets of quarter note triplets instead of a group of quarters and a group of eighths (the 1st Trumpet would have a quarter triplet group on beats 3 4, with the first 2 notes being rests and a quarter note on the last beat of the Triplet). Also, I notice the 2nd Trumpet hands the passage off to the first Trumpet at the end of the measure. You may consider sharing this whole triplet line with all the Trumpet parts (passed off between them-) and moving the 3rd Trumpet part down into the horns. Just an idea.

 

Msr. 35-39 (2:25 - 2:34) Great cadence. Looks like you took a similar chord to what you used at the last major impact point (or, this may be the original composer's doing if it wasn't your idea....still cool and well scored) I notice the final chord only spans 2 octaves....you may consider adding an octave or 2 in the Trumpets and Tubas to make it sound more resilient, but that's up to you.

 

Nicely done.

 

well actually its not an arrangement. ive done some research and Joyce kimler is a poet not a composer. there was a veersion but it was nothing like this. i will take all of this into consideration.