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mike753
04-08-2005, 08:15 AM
Hello everybody,

I've posted this demo already at NS forums a while back, but got not much response. I've used the gold edition exclusively, and with the exception of some alti verb for the solo violin, no further effects were used.

(Edit: updated version now, see below)

The link: http://www.m-hennig.com/showcase/mp3/gold_demo_01.mp3

Thanks for listening.

Michael

Joseph Christopher
04-08-2005, 11:09 AM
I like what you did.Please keep posting. At 0:30 what violins in gold did you use to make that upward run . It sounded like up and down bowing very realistic .If you have a list of the instruments you used could you please post them. Great job!

mike753
04-08-2005, 03:50 PM
Hi Joseph,

Thanks for listening. As far as I remember, it has been the fast up-down patch of both the first and second violins. It's some kind of round robin and works really well.

Michael

josejherring
04-08-2005, 04:07 PM
I liked it very much Michael.

I thought that your attention to articulation was very good.

I didn't care much for the main horn patch. And the low brass patches could have been a little punchier. Not sure if you doulbed them or not but they sounded a bit muddy down there.

Also in the opening you have a single line then that line gets joined by another line. When you have two lines going I wouldn't violate the rules of two line counterpoint in a piece of this style. The dissonances clashed and kind of distroyed the flavor of this style.

Cheers,

Jose

Steve Karl
04-08-2005, 09:15 PM
Excellent work.
Thanks for posting.

Steve

mike753
04-09-2005, 02:51 AM
I didn't care much for the main horn patch. And the low brass patches could have been a little punchier. Not sure if you doulbed them or not but they sounded a bit muddy down there.
Hi Jose, thanks for your comment! Yes, the bass brasses were doubled with bass reeds, I just wanted to test how this would sound, but it may have been punchier without doing that. And concerning the horns, I originally used SAM horns, but the intention here was to use only gold.

Also in the opening you have a single line then that line gets joined by another line. When you have two lines going I wouldn't violate the rules of two line counterpoint in a piece of this style. The dissonances clashed and kind of distroyed the flavor of this style.

Well, there is no violation of traditional counterpoint rules there (if you mean forbidden parallels and the like), but yes, it may disturb the listener a little bit as it seems to be in another "style" as you say. The reason for this is that I just started with the opening - a part of a composition I did some years ago for another purpose - to play around with the gold reeds (and its articulations). Then, the strings take over the head part of the first theme to continue in the other "style".

Excellent work.
Thanks for posting.
Thank you, Steve.

Michael

pappagheno
04-11-2005, 11:13 AM
great work.. :)

IMHO the beginnign is interesting expecially for the trwist it take after.. I would even exaggerate it more.. ;)

mike753
04-11-2005, 12:32 PM
great work.. :)

IMHO the beginnign is interesting expecially for the trwist it take after.. I would even exaggerate it more.. ;)
Hi pappagheno, are you a Mozart fan? Thanks for your message. I will put your suggestion into serios consideration :)

Michael

DaveWalton
04-11-2005, 04:28 PM
Hi,

I wasn't much on the opening horn patch either, but once everything started coming in it sounded real nice, full. I especially liked the strings.

Good work,

Dave

pappagheno
04-12-2005, 02:55 AM
Hi pappagheno, are you a Mozart fan? Thanks for your message. I will put your suggestion into serios consideration :)

Michael

who is not ;)

my name anyway comes from both the Magic Flute and .. some feathered friends..

sinkd
04-18-2005, 08:47 AM
Very nice stuff Mike.

I listened to the opening again--maybe the flute articulations don't quite keep pace with the oboe and bassoon? Some more expression sculpting might help the interweaving of the counterpoint (which I think is first-rate!) Also very impressed with your string articulations--very natural with enough bite as needed.

Keep up the good work

DS :D

Laurent JUILLET
04-18-2005, 09:03 AM
Very nice Music, great orchestration. Very epic, I love that. Bravo Mike.

mike753
04-18-2005, 10:10 AM
Thanks Dave, DS and Laurent for your kind words!

I listened to the opening again--maybe the flute articulations don't quite keep pace with the oboe and bassoon? Some more expression sculpting might help the interweaving of the counterpoint
Certainly good points, I was not very satisfied with the flute either. But now, I'm looking forward to the pro upgrade to improve these articulations (Q-Legato, whatever this will be).

Thanks all again for listening.

Michael

neoTypic
04-18-2005, 10:57 AM
Wow, what a great full sound and nice orchestration. The ending leaves me wanting more though! *laughs* The intro sounds a bit weaker in comparrison though - once the theme is picked up by the strings at about 28 it's smooth sailing from then on!

cecgwen
04-18-2005, 11:32 AM
i like your music very much...
it gives me many images, epic, and it's beautifull!

bravo!

mike753
04-18-2005, 01:05 PM
Hi neoTypic, Hi cecgwen,

Thanks to both of you for your messages! It appears to me that the intro part is irritating the listener more than I have expected. Very interesting.

Thanks again.

Michael

Evan
04-18-2005, 06:00 PM
A very Classy Composition. ;) I think I might have said this at NS, but that Horn Attack has always killed me. I think the aventure Horn Patch would suite the line better...of course this is in my humble opinion. And of course GREAT job!

neoTypic
04-18-2005, 10:59 PM
Hi neoTypic, Hi cecgwen,

Thanks to both of you for your messages! It appears to me that the intro part is irritating the listener more than I have expected. Very interesting.

Thanks again.

Michael

Don't get me wrong, the theme is really good, I can still remember it well enough to sing to myself a good 12 hours after I have heard it!

For me part of the problem is the solo instruments don't sound as convincing as your great orchestrations later in the piece. The other problem I have is it seems one or more of the parts lag a touch throwing the lil mini fugue idea off which is disconcerting.

I don't know what articulations you have available for the solo instruments but if you have some staccatto articulations for the oboe try using them.

As a woodwind player I would accent/stacc. the first note, accent/stress the second (sfz a bit perhaps) and slur into the next three note run and then stress the begining of each run slurring into the rest. Of course I'm not looking at your score so you are perhaps hearing it a completely different way. Also forgive me if I'm a lil off because I can't listen to the intro at this moment so I'm going from memory.

It really is nitpicking at this point because I feel it's a shame the intro is a touch weaker than the body of the piece which is excellent. :o

mike753
04-28-2005, 09:20 AM
As a woodwind player I would accent/stacc. the first note, accent/stress the second (sfz a bit perhaps) and slur into the next three note run and then stress the begining of each run slurring into the rest. Of course I'm not looking at your score so you are perhaps hearing it a completely different way.
Thanks for your suggestions, which you made quite a while back, but I was very busy. Anyhow, I followed your advise to play more in detail with the articulations of the woodwinds, one stacc here, more legato there, some expression, and so on. Sounds better now (at least to my ears). I'm curious though, how the Q-Legato feature will work to make the intro passage even more realistic.

Thanks again.
Michael

neoTypic
04-28-2005, 07:37 PM
Thanks for your suggestions, which you made quite a while back, but I was very busy. Anyhow, I followed your advise to play more in detail with the articulations of the woodwinds, one stacc here, more legato there, some expression, and so on. Sounds better now (at least to my ears). I'm curious though, how the Q-Legato feature will work to make the intro passage even more realistic.

Thanks again.
Michael

Anytime bud. I find it useful to think about how a player would play it when doing the synthesis. It really is the small details that help polish things which is why I'm excited to be getting EWQLSO. More articulations means more work, but a better expression in my opinion.

I really would like to study some more instruments in depth. Reading a book is one thing, actually playing it and having someone teach you about it really fills you in on the nuances.

songwolf
05-21-2005, 07:41 PM
This might be a bit late to post a reply...

I don't agree that the woodwind intro is in any way inferior! On the contrary, it is precisely what makes the strings shine... and then just as the listener is thinking to himself "Hmm, what a clever twist to have this 18th century string passage after those whimsical woodwinds" BANG out comes the horn with yet another twist upon a twist.
And I think the horn passage is magnificent, musically speaking... I don't understand why it drew fire from 2 other posts. It perfectly fulfils its role, what more can we ask of it? And the horn melody is very clever in the way it uses those modal notes right after the very non-modal fiddle passage.

This piece is precisely what composing is about IMO: com-posing. Putting together different elements in a fresh way... even if not all of the elements are exactly new.

To hell with purity! Michael H. is demonstrating exactly what another Viennese composer did: use whatever you need and can get your hands on. Wolfgang something or other his name was... :D

mike753
05-22-2005, 08:06 AM
Hi songwolf,

I don't know what to say, thank you very much for your kind and encouraging words!

This piece is precisely what composing is about IMO: com-posing. Putting together different elements in a fresh way...

Yes, that's exactly what I consider composing is all about, and not only in the realm of music. Seems that you have understood the intention of my piece, which makes me glad. :)

Thank you again!

Michael