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Post by Dave Dexter on Nov 13, 2017 18:58:43 GMT
soundcloud.com/davedextermusic/sails-and-waypoints-demo/s-83DFfAnother orchestral piece getting recorded early December. This is about at condense stage, need to double-check/tidy a few things and make decisions on a few others but musically and notation-wise it's pretty much there. The perfect time to take onboard any suggestions! I had to make a lot of corrections to spelling in my first recorded scores, and it's a recurring theme with my work that I get that area wrong, so I'm most looking for feedback there. I haven't made any changes to how Logic has spelt things with exception of harp, but given this will be in C the all-flats are mostly right from what little I can piece together. It's established I'm a moron in this regard, though. If anyone wants to explain how the keys change and why they are what they are (is the second chord Bb or A#?) so I can maybe try and assimilate this for the future, I'm especially grateful. By my standards the piece is practically mellow, not a cymbal in sight. Thanks!
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Post by Bob Porter on Nov 13, 2017 20:01:21 GMT
Again, very nice, Dave.
To answer the Bb/A# question, we need to figure out what key you are in. It's not C. You start on a G chord. Fine, but there is never a resolution to C. So key of G works. Except you leave out the note F quite often, which would be F#. If you are in G, then the second chord would be A# (with F natural).
And with that, I'm out with a headache. Too much thinking. Mike can give you a better answer.
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Post by Mike Hewer on Nov 14, 2017 11:07:14 GMT
Dave, I see only ONE spelling mistake!!!!!!!!!  The 2nd chord is a simple bflat major and should be spelt as such and is fine as is. The one spelling mistake comes in b16, all g flats should be f sharps as the chord is the dominant of G. How big is the string section and where are you recording? |
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Post by Dave Dexter on Nov 14, 2017 12:06:51 GMT
WHAT
No credit to me there, except I suspected flats and wisely didn't fiddle. b16 makes sense as I remember D having f#s, not that I understand how it's the dominant of G or what that, you know... means. Thanks!
Strings are 12-10-8-6-5, it's with the same company as did my last orchestral sessions. Not sure which orchestra, as they use multiple.
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Post by Bob Porter on Nov 14, 2017 14:35:26 GMT
Yup. B16 is a D chord, which is the V (Dominant)chord in the key of G. Can't mess around too much with the spelling of the one or the five chord in Western music, unless your modulating, That relationship is pretty much the foundation of why Western music sounds like it does. What gives your piece it's flavor is the Flatted III you go to in the second bar.
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Post by lawrence on Nov 14, 2017 18:24:17 GMT
Is it your strategy to write all the parts on separate staves for the purpose of printing out parts, and then you condense them into a smaller score? Otherwise this score is too big and will look microscopic when printed out. You're bouncing back and forth from G to Gmin. I would mark the piece in Gmin. (two flats) which would make it easier to read.
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Post by lawrence on Nov 14, 2017 19:04:31 GMT
Dave,
If you compose by ear without regard to key signature, you will find yourself writing many accidentals. Look at your score. See a lot of E flats and B flats? (Look at the staves in concert pitch, flutes, oboes, strings). Now refer to the staff key or chart that lists key signatures. Two flats is either B flat or G minor. Your piece resolves often to G or G min. so two flats in this case is G min.
I go where the music takes me and after say 12 measures I'm still writing out accidentals a switch key signatures to keep things neat. Though my scores are not so neat due to other reasons.
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Post by Dave Dexter on Nov 14, 2017 23:55:44 GMT
Thanks Lawrence. Yes, it's to be condensed to a conductor score and split to parts, as with my previous recordings.
For this score there's no key, as it's a soundtrack session orchestra and that's the standard approach, but getting the spelling wrong is still obviously a problem so I'm glad people helped out! Still some transposing to do for horns, trumpets and clarinets but I sorted that out last time without fudging it.
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