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    7. Electronic

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  3. Competitions and Collaboration

    1. Competitions and Challenges

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  4. Technological

    1. Finale and Sibelius Help Desk

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    2. Software and Hardware

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  • Works With Few Reviews

  • Posts

    • What are the rules for breathing for the wind instruments? How long can they continuously play?
      What instrument do you play?  The best way to determine is if you are able to sing the line. Are you asking about a single note?  Or are you asking about continuously playing in general?  Register and dynamic play a huge role in the answer.  As a general rule, if you can sing it, a player can play it.  Yes there are differences between instruments.  As stated, oboists need to learn to exhale before inhaling lest they hyperventilate (a big problem for younger players!).  What level are you trying to write for?  Young players will expend air faster than an advanced player. Talk to some players of the instruments if you're not sure.  Take a trumpet player to coffee and he will probably tell you a lot of what you need to know. Perhaps you can post what you want them to be able to do, and someone can tell you if it's doable.
    • Windermere
      Thank you for your comments, Sojar. You have mentioned the issue of length in my work before and I am working on longer things with new material, but I don't think I will use this as source material. It's kind of old and I wouldn't know what to do to lengthen it. I don't have the interest. I thought it worked as a miniature with a few good ideas.
    • Things To Try ...
      If you are in an ensemble where improvisation a part of your routine, try this as an exercise in trust and bonding. There is one general rule. Do not play a note or phrase unless it is directed by another member of the ensemble. And by directed I mean without overt gestures like what a conductor might use. You may look at each other, but that is not dependable because if one looks at another person who is looking at another person, that person doesn't see your direction. So, basically the directions that are the most effective are telepathic. The whole exercise is a sort of musical Ouija board. There are no guidelines or expectations in style and no presumptive outcome. Just freedom of thought. I was playing piano in one of these experiments, and it started out slowly, cautiously. Little by little sounds emerged, a brief gesture here, a rumble of low notes there. We were picking up steam. I was catching a message from the cellist but it wasn't clear what she wanted. So I received other messages and passed my own around. It was going nicely, but the cellist kept playing the same thing over and over like a broken record. Finally after about ten minutes, I got up and walked directly to the back of the stage where a row of folding chairs were in a loose line against the wall. Without any thought whatsoever I pushed the line as hard as I could and they tumbled over like dominoes, making an awful racket. Just realizing what I had done, I turned around to find the director with his eyes open wide in disbelief. And I calmly back down at the piano. The exercise was over. And I'm like, why are you looking at me like that? The cellist made me do it ...
    • Absolute Music And Program Music
      Or rhythms, or timbres. Or processes unfolding in time? 

      Music is too pregnant in meaning to be only self contained, even with its inability to be specific about anything. (Other than of course iconic sound signs in the Peirceian sense) 
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