Alright, so, I just had a quick idea that I thought might be fun to try.



Here is the idea: Forum members will throw out ideas - anything from just naming a few specific notes, to phrasing ideas, orchestrational ideas, etc.



Here are the facts:

1.)I am currently working on an orchestral piece.
2.)Texture is very thick (think polychord!)
3.)Tempo = 60bpm
4.)Gradual build in intensity (think "Ravel's Bolero.")


Here is the situation:

1.) The entire orchestra is currently in use.
2.) E | f#m6/3 polychord
3.) mf dynamic
4.) E to D# portamento in the 1st horns


Let's see whatcha got!


:P

Anybody? Anybody at all?

What is an F#m6/3 chord? That's not a standard chord symbol.

Is the 6/3 a figured bass indication meaning a simple F#m with an A in the bass (F#m/A)? If so the polychord sounds like an Amaj13 to me.

Or did you mean an F#m6 with an A in the bass (usually shown as F#m6/A)? If that's what you meant, then this is an Amaj13(#11) chord to my ear.

If it's an Amaj13(#11) harmony, things get interesting and your horn semitone movement makes perfect sense.

If writing for orchestra, I might...

1. After the horn portamento, sustain and diminuendo the whole chord (horns and strings).
2. Then double the D# (#11) in a different instrument on the top of voicing as the horns fade away and strings continue the sustain. Flute could be nice for this note (or oboe if the player is good -- this could be a high entrance).
3. Use the D# as the melody note for the beginning of a flowing lydian melody.

Don't use the entire orchestra for a while so you have somewhere to build.

As I think about this, it might be nice to start with the horns and strings in mutes. The strings will be silky and the horns won't be too brooding.

Uh-oh, starting to sound more like Debussy's "Daphnis and Chloe". [wink]

Haha, excellent suggestions!

Yes, I was just trying to show a simple 6/3 inversion, I get stuck in roman-numeral-analysis land sometimes (haven't we all at some point?) Next time I'll just stick with jazz and pop symbols.

Basically, I've got that polychord (or Amaj13(#11) if you so prefer,)chord-smear with oblique motion to the bass (contrabass, tuba, bassoon) and soprano ( just flute and piccolo in this case) voices ascending by step.

D# lydian...so A# minor I suppose? :D Sounds zesty.

I'm really, really diggin' your suggestion about the strings entering with mutes. They have an entrance earlier where I want them to sneak in almost completely unnoticed, and that is a perfect idea!

Daphnis and Cloe is fine for now, just as long as it doesn't end up like "The Cathedral." :D


Excellent ideas! Keep 'em coming!

Quote:Original post by jjandreau
D# lydian...so A# minor I suppose? :D Sounds zesty.

Not exactly. I was thinking more traditional - A lydian. The D# note is what makes it lydian instead of plain A major so I'd use that note as a jumping off point and stay within your Amaj13(#11) which is lydian harmony! :)

Quote:Original post by Muzo72

Not exactly. I was thinking more traditional - A lydian. The D# note is what makes it lydian instead of plain A major so I'd use that note as a jumping off point and stay within your Amaj13(#11) which is lydian harmony! :)

I figured you meant A lydian, but the way you wrote it, it sounded as if you meant D# lydian, so I was being cheeky. :D

Quote:Original post by freeworld

link please, I'd love to hear it. I'd love to help too, but I'm a self taught guitar/drum player, I can't for the life of me tell you what chord I'm playing.

Part of the fun of this experiment is doing it without hearing it / seeing it! However, I promise that when this section is done, I'll post a short clip of it with some of the sheet music.