Leibowitz - Orchestration Exercises - Ex. No. 16

There's Ale, delivery is always next Wednesday... right?

AleGozzo wrote:

let's start with the 16th, also because the one after will be a long and difficult beast

In between, the Sonata Form Workshop gets squeezed in, and if I understood correctly, at the end of the month there's a small piece to harmonize; we can slot the 16th around the 22nd... so as to deliver by early November?

hi eagle, I'm a bit out of it these days but I didn't understand what you wrote

what is the date you are proposing to hand in this exercise ?

.... have patience ....

AleGozzo wrote:

hi eagle, these days I'm a bit
out of it but I didn't understand what
you wrote

Jokes aside.

10/10/12 submission of exercise 16

Mid-month Sonata form Laboratory

24/10/12 propose exercise 17

End of month Laboratory on the bass (Gassy's proposal if I'm not mistaken)

07/11/12 submission of exercise 17

ok, approved and signed

Hello guys, ecco il mio.

es 16 versione Ale.pdf

Punctual as a Swiss watch Ale, I hope to give my [contribution/input] during the day

I wanted to participate too, let's hope for the best ...

Well added Destroyed, I don't really hear the horns much ....

hi destroyed, welcome !

faria o qualcun altro thinks of joining or should I prepare to give the solution ?

ps

why this choice of Vc and Cb in unison instead of in octaves? rather unusual .... but we shall see

Ok, I understood from your comments that I messed up quite a few things

...I leave

I would make a nice reflection on the viola

ahah Frank I was just about to post the original with Leibowitz's useful comment, but since you've put your finger on the sore spot, I'll wait until tomorrow.

squeeze your brains

AleGozzo wrote:

why this choice of Vc and Cb in unison instead of in octaves? rather unusual .... but we shall see

Usually it was the norm in the classical period, apart from a few examples... so I went on autopilot even with M., considering it early romanticism ...

Frank wrote:

I would make a nice reflection on the viola

Perhaps in the second part I think I understood, in the first less. I can say that it is not easy to "filter" strings by ear because they tend to blend well together as a sound, so it's possible that the doublings are managed differently from how I wrote... we'll see.

Eagle wrote:

I can say that it is not easy to "filter" the strings by ear because they tend to blend together well in terms of sonority, so it's possible that the doublings are handled differently than how I wrote... we shall see.

And who can deny it, I am the first to say that it is difficult to dissect all the nuances by ear... but one can always reflect on it

here is then the original and L.'s comment.

Frank, were you referring to what Leibowitz says, or do you have something else to highlight?

AleGozzo wrote:

Frank, were you referring to what Leibowitz says, or do you have something else to highlight?

Exactly, M. could have swapped the viola parts with the II violins (I am obviously referring to the first part) without anyone being able to say anything... but the effect would have been completely different, however here we are in the f ... and it would be more easily imaginable, the beautiful thing is that M. continues with the viola (in the same texture) even in the p ...

Ok, I didn't understand a damn thing