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Thread: Waltz No. 5 in G major

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    Senior Member Samuel Kristopher's Avatar
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    Default Waltz No. 5 in G major

    I should be studying, but I've been working on a few small pieces lately and I've decided to try my hand at orchestrating them for a full orchestra, reason being I also have a first symphony in the works and I'm in want of some practice! I'll try to upload the others over the next week or two after I finish my history assignment on Thursday!

    This is a simple waltz in which I tried to focus on the swing between major and minor, with the melodies remaining quite consistent throughout.

    Hope you guys enjoy!

    P.S. Let me know if it's too quiet - I have a feeling something killed the volume when I was preparing the video.

    Last edited by Samuel Kristopher; Mar-21-2017 at 00:30.

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    Senior Member dzc4627's Avatar
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    Perhaps this is solved in the orchestration, but I find the left hand to be very bland in how it voices the accompanying chords. The texture never changes and the structure is always close and muddy (close structure vs open structure). There is definitely harmonic and melodic potential here but I suggest you get a bit more creative and open with the voicing if you want this to stand well and pleasantly as a piano piece.

    However, if this is just a fun little piece you wanted to share and have no intention of really doing anything with it (I've done that before, it is a great way to pass the time) then disregard the above, as it only applies if you want to move further with it. Good Job

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    Senior Member Samuel Kristopher's Avatar
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    Cheers for the thought mate! But yeah, my short waltzes tend to be much lighter on left hand texture, in the tradition of the short waltzes of Chopin or other Romantic composers. On the other hand, those pieces are intended for piano only, so perhaps it's worth considering departing from that style for the sake of interest.

    Still, I'm sure even with simple chordal accompaniments it needn't be overly bland, certainly not close or muddy. I'll spend some time going over it, maybe playing only the left-hand track and seeing if I can diversify it a little bit.
    Last edited by Samuel Kristopher; Mar-21-2017 at 07:29.

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    Great tune. It fits perfectly for piano but I cannot imagine how it would work for orchestra. I look forward to hear that.

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    Senior Member dzc4627's Avatar
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    Quote Originally Posted by Samuel Kristopher View Post
    Cheers for the thought mate! But yeah, my short waltzes tend to be much lighter on left hand texture, in the tradition of the short waltzes of Chopin or other Romantic composers. On the other hand, those pieces are intended for piano only, so perhaps it's worth considering departing from that style for the sake of interest.

    Still, I'm sure even with simple chordal accompaniments it needn't be overly bland, certainly not close or muddy. I'll spend some time going over it, maybe playing only the left-hand track and seeing if I can diversify it a little bit.
    I could have really condensed what I meant: the chords in the left hand are to close together. In Chopin waltzes you often get the root on the down beat but the two off beats are often very incomplete triads. I just mean it would be nice if the chords on the left hand were more spacious, not more complicated.

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    Senior Member Samuel Kristopher's Avatar
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    Ah, I think I see. But by 'incomplete triads', do you mean that they are triads missing one of the components, the root/third/fifth? Or that they have a variety of inversions?

    Thanks for your input

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    Senior Member Vasks's Avatar
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    dzc is correct to say that your left hand is clumsy especially when it goes low. However, he's not correct to say that Chopin's left hand "often gets the root on the down beat" Chopin uses a liberal amount of other chord parts (thirds, fifths, sevenths) on the downbeats to create interesting/smooth voice leading.
    A conductor is a musician who's adept at following many people at the same time.

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    Senior Member dzc4627's Avatar
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    Quote Originally Posted by Vasks View Post
    dzc is correct to say that your left hand is clumsy especially when it goes low. However, he's not correct to say that Chopin's left hand "often gets the root on the down beat" Chopin uses a liberal amount of other chord parts (thirds, fifths, sevenths) on the downbeats to create interesting/smooth voice leading.
    My bad. I meant the bass note I think. Definitely not root (obviously that would make for some clumsy sounding music).

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    Senior Member Samuel Kristopher's Avatar
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    Thanks for the feedback guys, I'll put this into practice!

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    Senior Member Pugg's Avatar
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    Must escaped my attention this one but, I like it, good job, about the rest; all is said.
    First they ignore you, then they laugh at you, then they fight you, then you win.
    "Mahatma Gandhi"

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    I must say, you do an incredibly good job at abusing Sibelius's piano and score options. Very innovative way of composing

    It's a very nice piece, but like the guy above said about the voicings. Otherwise, I enjoyed it.

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