Tennessee River Portrait - Symphonic Tone Poem

Paul, I've never been to the Tennessee River but your piece sure took me on that journey.
If someone decides to do a documentary on the Tennessee River, they sure could use your score to put the majesty of that river in motion.

 

Really lovely! Right at the end, it sounds like you're doing a board fade and taking just a little bit of the ring out with it. Whattaya think?

 

@Paul T McGraw thanks for sharing the piece!

A couple of quick comments on the score (engraving):

• check the cover for typos ("license", "creative", "attribution" - Sibelius doesn't have spell-check unfortunately, so I do this in Word and copy/paste)
  
• consistency of instrument names (flute 1.2 vs oboe 1,2 - the period vs the comma)
• slurs continue through the end of tied notes
• add numbers to the short names on page 3 to identify systems (horns, trumpets, etc.)
• viola trill symbol in the middle of the staff (page 3)
• doubled clarinet slurs on page 5

I could go on, but you get the idea. I think another person proofreading your score (with Sibelius formatting chops) can really clean this up and make a publication ready edition of the score. I'd say the biggest problem is relying on Sibelius' magnetic layout function. It can avoid collisions, but causes crazy repositioning to dynamics, system lines, and rehearsal markings if you don't double check it. Magnetic Layout isn't a "set-it-and-forget-it" feature, I love it and rely on it, but it has idiosyncrasies to learn.

Enough of the bad, time for the positive (engraving related):

• Good detail on part identifications (a1 vs a2)
• Plenty of dynamic indications and didn't over-do-it on the articulations (I think a typical symphonic ensemble can interpret what you wrote and accurately assess the phrasing/style)
  
• Percussion changes are clearly marked (playable by 2 players throughout pretty much)
• The parts are idiomatic for the instruments (playable ranges that are all in the sweet spot, genre appropriate uses of the instruments, performance markings that look familiar to other repertoire of this style)

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A lot of your phrasing/articulations sounded convincing, but even more dynamic shaping and contrast could take this up a notch. One thing that drew my attention was some woodwinds (performed) slurs, but the score was marked tongued. Likewise, in the same passage, the strings would play on one bow (performed), but were marked to re-bow (score). I think a more consistent marking in the score to match your performance, or a performance that articulated like you marked in the score, would clarify what you want to hear. Personally, I struggle with this a lot because of the huge amount of articulations available, and my limited articulations and poor midi/modwheel performance abilities.

Did you notate then play, or play then notate the piece? I am just curious as to your process. I arrange notated, but compose by performing, so it is a mix in my personal workflow based on the project.

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If I had to nit-pick the performance mix, the triangle is a little loud, and the trumpet vibrato is a little fast (I saw you liked british brass bands, so I see the influence and don't mind it - try it with a slower frequency and it may fit the character better). The reverb and clarity sounds good to my ears, but I know some folks on this and other forums can improve the balance between sections (winds/strings/perc/brass) and improve the overall dynamic contrast. I'd save this performance, apply the recommended tweaks and compare the two versions.

In summary, it is an interesting and colorful piece. Thanks so much for sharing and welcoming the comments. If you'd like some Sibelius tips, then feel free to drop me a private conversation on the forum and I will see what I can do to help.

 

Paul: sorry about the esoteric vernacular, I have no idea why I keep doing that. Translated to English, what I was trying to say is that right at the end, where the last note is naturally decaying in that great space you created, it sounds like you're fading out the audio just a brief instant before the natural sound has completely dissipated. It's just one of those sensitivities I have, and also something I sometimes do and don't notice at the time. See if you hear it. If not, not. Again, a lovely piece.

 

It's a little off topic, but I have some ideas about getting your piece premiered-

• University orchestras (conductor's emails are available on their school's website)
• Regional orchestras throughout the Tennessee Valley area

I'd drop them an email out of the blue with a link to your final score/virtual recording and see who bites. Those institutions do look for new works to perform, and if it fits in their concert programming you might be surprised who says yes. It can even lead to an ongoing association that leads to more premiers and performances of your work.

 

I had the great pleasure of collaborating with @Paul T McGraw on this piece as editing/engraving consultant. I'm sure he'll direct a link to the final product in the near future.
My experience working with Paul on the project was great:

• professional communication
• prompt responses to inquiries
• incorporates and encourages feedback
• has a passion for his projects

I highly recommend that if you get an opportunity to work with Paul, or others on this forum, that you take it and run with it. I'll let Paul speak more on the piece, but I wanted to say thanks.

 

Nice work, Paul. Conveys a scene that is both serene and commanding. Thanks for sharing.