Tutor feedback – Assignment 5

I admit to holding my breath following the submission of my 5th assignment. I knew I had quite a lot more to do, and I wasn’t wrong.

This is the feedback from my tutor:
Amy Balcomb (510035) Assignment 5 Tutor Feedback

In summary, the following areas need addressing:
1) I need more contrast in the second movement.
2) Bars 455-461 needs more variation in the bass from tonic/dominant.
3) The scoring is still quite sparse, feeling unfinished, and there are many rests in some of the parts and many instruments underused.
4) I need to check the woodwind parts for unnecessary doubling. Perhaps reduce to 1 player per part.
5) Remove the santoor completely? I’ve not written any music for it (I thought I had).
6) Consider how much piano is scored. Too much reliance on it still. In turn, increase strings and vary their timbral effects (sul pont, sul tasto, etc). Would pizzicato work at ‘Q’?
7) Look at each instrument for range and total use; increase ranges for instruments.
8) Think about the blending more.
9) Listen to more classical works, plus read scores, too. Ravel’s Bolero & Daphnis & Chloe Suite 2. Also listen to some Peter Maxwell Davies and go back over tutor’s previous listening recommendations and look at the scores, too.
10) Consider the balance between parts; consider if the registers of the melody lines could be overpowered by the accompaniment.
11) Double check the wind parts for repeated notes that are slurred.
12) Add more performance directions and descriptive words.
13) Ensure each instrumental entry needs a dynamic marking.
14) Check for clashes in parts (slurs overlapping).
15) Tidy up unnecessary rests particularly where I may have deleted something.
16) Check spelling of accidentals within each key.
17) Consider hiding empty staves (!) but go carefully and ensure all instruments are shown on the first page of the score.
18) Add writing cues to Nai and Dulcimer to oboe and harp respectively ‘play if no nai/dulcimer’
19) Increase knowledge of orchestral works from the classical tradition from the early 20th century.  Look, too, at the scores. This will increase my knowledge of seeing how different instruments are used within a larger ensemble.
20) Comments on the Critical Review draft are listed separately below here.

A LOT to get on with before the end of May. It’s hard not to feel daunted here but I just have to get my head down and work methodically through things.

Critical Review feedback:
Amy Balcomb (510035) Level 3 Advanced Composition Tutor Feedback Critical Review


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