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  #41 (permalink)  
Old Aug 25 2008, 10:31 PM

SaXoPhoNe-AlT's Avatar

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Oh dear.
I did this wrong I see.
I shall make the corrections right now.

In execise 4 I was trying to create a funeral march feeling by adding a forlorn/mornful/sad atmosphere to the piece.
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File Type: mus Execise 1.1.MUS (29.1 KB, 2 views)
File Type: mus Exercise 1.2.MUS (29.4 KB, 4 views)
File Type: mus Execise 1.3.MUS (29.4 KB, 3 views)
File Type: mus Exercise 1.4.MUS (30.3 KB, 2 views)

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Last edited by SaXoPhoNe-AlT : Aug 25 2008 at 10:36 PM. Reason: Editing for doing this wrong- did not fully understand the direction it appears.
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  #42 (permalink)  
Old Aug 26 2008, 1:01 PM

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Sax, why is your 1st horn so low in the 2nd example you posted?

For purposes of this course, I highly recommend you use considerably simpler harmony.
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"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-

In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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  #43 (permalink)  
Old Aug 26 2008, 4:43 PM

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@The lowness of the 1st french horn - I really do not know why I did it like that.
I will try to use simpler harmony
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  #44 (permalink)  
Old Aug 26 2008, 5:55 PM

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the reason I mention starting from the beginning of this course is that in one of the 1st sections on woodwinds (horns and woodwinds are very closely related families) I DO mention the reason for the disposition of horns in F. There are two "high" horns, and two "low" horns.
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"Those that know, do;
Those that understand, teach
."
-Aristotle-

"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-

In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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  #45 (permalink)  
Old Aug 26 2008, 6:09 PM

SaXoPhoNe-AlT's Avatar

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I see. Thank you.
I will go over both sections.
I started with the brass first because I only write for brass specifically right now until I can further branch out into better music programs.
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Berlioz:the composer is God, the conductor is the prophet, and the players are the followers .
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  #46 (permalink)  
Old Oct 31 2008, 2:00 AM

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I redid the excersises.
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File Type: mus Excersise 1-1.MUS (29.3 KB, 2 views)
File Type: mus Excersise 1-2.MUS (29.5 KB, 1 views)
File Type: mus Excersise 1-3.MUS (29.4 KB, 1 views)
File Type: mus Excersise 1-4.MUS (31.4 KB, 1 views)

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  #47 (permalink)  
Old Oct 31 2008, 3:43 AM

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as I said, I highly suggest you use considerably SIMPLER harmony.

The goal of the course is not to amaze the other participants with your originality, but to learn how to use the instruments properly in a controlled environment.

And if you carefully reread the exercise you will notice that it says to write a short chord progression, 1 to 2 measures (that implies changing harmony on each beat for the former, or every 2 beats for the latter), and arrange it for each of the groups requested. Not write a new one for each group.
__________________
"Those that know, do;
Those that understand, teach
."
-Aristotle-

"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-

In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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