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Took some drills from 4P H3 and played them out in LASS divisi... box link attached

Farkle

Senior Member
Hi, all!

Just finished 4P and 5P harmony in thirds. During the drills, I started writing some bits and pieces that were intended to be a jazz divisi string sound. Craig recommended I play some of them into LASS, and see how they sound.

Sooo, I did. I thought you all might like to hear how some of these voicings translate to LASS. I did this in 5 parts. Bass is LASS Cellos A+C. I divided the 4 parts into Violins A+B, Violins C, Vlas A+B, Vlas C.

There are 4 examples back to back, with a space between them. Again, just a drill meets beginning compositional thoughts.

Disclaimer! I really didn't mix or tweak the programming that much. This was just to lay out my drills into LASS. I did a couple of passes on each line, threw some Bricasti impulses on there, and that's pretty much it. So, no comments on the mix! :)

Here's the link; I hope you enjoy it. I really liked the third example (Scale #8, drop 2 voicing)... has a bit of Bernie Hermann in it. And the last one has some Ravel...

https://www.box.com/s/a1fe65d81504527f1862

Any thoughts or feedback is welcome!

Mike
 

Leandro Gardini

Senior Member
Sounds good, but the melodies are not very clear. One thing that helps, compositionally speaking, is to drop down an octave the second highest voice of the chord!!!
Have you tried orchestrating it with woods??? Then you are gonna have a lot more troubles :) !!!
 

Craig Sharmat

Moderator
Moderator
Sounds good, but the melodies are not very clear. One thing that helps, compositionally speaking, is to drop down an octave the second highest voice of the chord!!!
Have you tried orchestrating it with woods??? Then you are gonna have a lot more troubles :) !!!

I am going to agree and disagree with this. First no.3 appears to have "drop 2" voicing so Mike did that here. Next 12 tonality is a "sound" and it is accomplished here. Also many times this is for sectional writing so it often supports the main melody. If all the "close" voicings were used with piano you would get the George Shearing sound or harmonies like on the the hits like "Unforgettable" by Nat King Cole etc, a constant sound of the 50's which carries over till today.
 

Leandro Gardini

Senior Member
Sure Craig, that's why I wrote "compositionally". There's nothing wrong with his writing but the mockup is a little bit confusing!!!
I usually think the drop 2 useful when we have an E2 between the top two notes, but also, sometimes this E2 is a nice special effect!!!
 
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Farkle

Farkle

Senior Member
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Hi, all!

Thank you all for the advice, I agree, I should probably slow some of these down, and I could convert some to "drop 2" voicing to really open it up.


These melodies are VERY simplistic, again, I was literally doing these as part of the 4PH3 assignment, so I was just going for shapes and motions. I kept closed voicing because of what Craig said, I wanted to "get the sound" in my ear, so that I was used to it. It really does sound lush in closed voicings with divisi strings.

Later on in August, I'm going to write a string elegy or something using 4 and 5 P H3 voicings... I'll post that up when I'm done, should sound really cool!

Mike
 

christianhowes

Active Member
Really nice writing, harmonically imaginative. I can see what you're saying in terms of the influences in the third and fourth excerpts; Herrman's stark, Bartok-inspired Psycho sound in the third, maybe Ma Mere L'Oye in the fourth? I thought that the bass lines might be moving a little too rhythmically regularly as a rule, but that's just a quibble - I enjoyed listening!
 
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