Editing music to make it more itself

Applying critical feedback to the rest of my reed quintet After Hours

A few weeks ago, I got some feedback about my reed quintet After Hours, which I had submitted to a composition competition. In that earlier post, I walked through how I was thinking about the criticism and how, whether, and where to apply it. Since then, I’ve also decided to apply the same lens to the other three movements of the work, even though the reviewing ensemble didn’t get a chance to see all of those movements.

A summary of the feedback I got:

• Some sections come across as simple but not in a compelling or captivating way

• Use of the low register of the low instruments was pretty conservative

• Suggestion: when one element of the music is simple, make another element more interesting or complex

This feedback combined with understanding what I was trying to communicate with the music leads to this guiding question/lens when thinking about revisions:

How can increased use of the lower voices and adding more interesting musical elements/texture support the music’s expressive goal?

Making music more itself

Another way I was thinking about making edits was asking myself what can I do to make the music more itself? To go deeper? If a moment of music is supposed express calmness or ennui, am I making sure I’m using all my resources to maximally support that effect? That doesn’t mean all voices need to be busy doing something all the time; to create a sense of calm, it’s possible a single line with generous silences between utterances will do.

So in the case of each movement, I’ll describe:

1. What I initially intended to do

2. How well I initially pulled it off

3. How I decided to use my musical resources in a revision to address criticism of the music while maintaining or enhancing the expressive effect

Here goes!

Movement II

Movement II is the “slow” movement of the four-movement structure. Accordingly, it’s a bit calmer and more spacious than the previous movement. In the section I spent the most time tinkering with, the music transitions from a slow, yearning chordal texture to a gentle forward moving and more active section. Within the transition, there is a small climax and the layered introduction of a germ that will make up the main idea in the coming section.

After Hours (reed quintet): Movement II, Rehearsal A and B—original version

What I intended to do: I wanted to bridge the initial feeling of languorous yearning with a feeling of anxious anticipation that is relieved with the introduction of the new idea.

How well I initially pulled it off: the transition lacks a little bit of direction and so falls flat in the drama department. I think part of the reason for that lack is the peaks and valleys aren’t high or low enough that traveling from one to the other feels like much of a journey.

How I decided to change it: I went with the diagnosis that the peaks and valleys weren’t extreme enough to keep the music feeling dynamic. First I increased the intensity of the climax going into the double bar by bumping up the dynamic, adding a tremolo for a more interesting and active (and anticipatory!) texture and making the bassoon’s entrance with the new material a little more rhythmically active. Finally, when the new section arrives, I added a conversational accompaniment part that is passed and interleaved between the three upper voices to create more of a contrast in the sense of movement and freedom.

After Hours (reed quintet): Movement II, Rehearsal A and B—revised version

Movement III

Movement III has something of a groove and begins as a conversation between the soprano clarinet and the other voices in the quintet before reaching the passage I tinkered with most (I didn’t touch this movement much as I feel it works quite well and the music remains characterful and engaging throughout).

After Hours (reed quintet): Movement III, Rehearsal A-B—original version

What I intended to do: In this section I wanted to give the groove feel that had been introduced in bits and pieces before now its full voice. Determined-but-dancing is what I was going for here.

How well I initially pulled it off: honestly, the initial version of this movement works well enough to me and this spot might be a change I made just the sake of it. I do think the revision might be better, an example of making the music more of itself by turning up the volume, but really it will take until the piece is worked up and recorded by the nonesuch.reedquintet later this spring to tell for sure.

How I decided to change it: I put both of the lowest voices in unison in their lowest octave and kept them there the whole passage to maximize one of the best things a reed quintet does: be hugely and unapologetically reedy and direct. I’ve heard similar passages with this scoring I think this pairing with this material will leave a tremendous impression. Can’t wait to hear it!

After Hours (reed quintet): Movement III, Rehearsal A-B—revised version

Movement IV

Movement IV is a short energetic rondo (ABABA) that makes extensive use of planing and mixed meter to keep the energy high. My revisions focused on the second B section. You might recognize the music in the B section (original version excerpt below) as the same music leading up to the climax in except featured in my movement II edits. The reviewing ensemble wasn’t aware of this connection when they made the comment that this section was harmonically less convincing, but even so, I think there are ways to address their concerns within the context of what the music needs to be doing expressively.

After Hours (reed quintet): Movement IV, Rehearsal C-D—original version

What I intended to do: I wanted this section to contrast with the A sections, to be something of a respite from that intensity, but where a certain anticipatory energy is present.

How well I initially pulled it off: I think the contrast is quite effective. The B section music sounds pleasantly pale juxtaposed directly against the A section music. I think the problem is that the second time we hear the B music, given how tame it is, the repetition really taxes the attention. I also make a half-hearted reference to the sparkling 16th note section from the first movement in the soprano clarinet and saxophone that doesn’t really go anywhere.

How I decided to change it: I wanted to keep the initial “clean” feel of the B music, so I didn’t touch the first few bars. From there to the end is a stead ramp up of rhythmic activity, developing the 1st movement 16th note idea more convincingly and adding a bassoon counter line that creates more harmonic interest. The effect of those first few revised bars is a swelling sense of hope and energy before diving back into the final recap of the A music, contrasting with the first time listeners hear B, which is rudely interrupted by A.

After Hours (reed quintet): Movement IV, rehearsal C-D—revised version

Conclusion

These revisions have settled into their current form after a week or so of tinkering each day. Though there will probably be a few more adjustments, the final versions will more or less look something like this.

What do you think of the revisions? Do they seem more or less effective than the originals? Are there additions that feel extraneous, like I was adding something just to do so?