tmarko

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tmarko last won the day on August 24 2016

tmarko had the most liked content!

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About tmarko

  • Rank
    Advanced Member

Profile Information

  • Gender
    Male
  • Location
    DFW area
  • Favorite Composers
    Aarron Copland, Alfred Reed,
  • Notation Software/Sequencers
    Finale 2012, Notion 5, Sibelius 8
  • Instruments Played
    Trumpet

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  1. No higher plane, I cheated a bit. I used an existing modulation from the expression tool and altered it to show q=q and put a couple spaces before the first q. The triplet numbering is simple text positioned over top and was just -3-. The font should probably be altered to match the rest of the expressions. Hope that helps. Tim
  2. Please add me to the list. Tim
  3. The problem is in relaying the information to the performer. What ever you do, it needs to show an equivalency. This solution is simple, but gives the performer the necessary information. Sorry to do it as an attachment, but couldn't figure out how to show a fragment. Tim
  4. In a transposed score the clarinet sounds whole step lower. In measure 1, the clarinet sounding pitch matches the C# in the piano.
  5. This was really interesting to me. There's a unique cohesiveness to it in spite of the different rhythms. So each measure should take the same amount of time regardless of time sig. Am I understating that correctly? If that's the case, I don't follow your metronomic markings. I don't seem to be able to make them line up to the bar line. I'm not sure I understand prolation, which could be contributing to my confusion. I did enjoy listening to the work. Ken said it very well; "very engaging...many facets...a little different", and I would add, well done. Tim
  6. Thank you all for listening. I found I really liked writing for this particular ensemble and will be doing more in the future. Tim
  7. I see your point regarding the 16th pattern. Your right, it would get "classical". I agree that whatever you decide, it has to stay consistent. You've obviously put a lot of thought into your decisions, I was curious as to what those thoughts were. Thank you for the clarification and education. lol, I could edit my scores 20 times and still find another few mistakes. It's the part of the process I hate most, and yet is the most important. If you just found a few, you're doing pretty well. By the way, I do like the piece. Tim
  8. Hi Adrian I played it on trumpet. Did both the figure in m 39 as well as it's return at 103. I tried the fingerings for the horn where they have it also. Technically it's playable without a problem, it just didn't seem to flow well to me. Please don't think I'm saying it's bad, just seems awkward to my ear. I agree with a transposed score, I was more wondering about the use of a null key. Like I said, the title set up the listening experience even without the back story, so it was aptly named. (The story was neat, too!) Tim
  9. This was a "self assignment" at writing for ww quintet. It was done more as a study of writing for the ensemble for my own education. Any comments would be appreciated, especially as it relates to use of the ensemble. Thanks, Tim
  10. Very well done. I think you accomplished all the goals regarding the ensemble you were writing for. My only suggestion, fwiw, in the variations where you have the 8 measure repeats, possibly hold out something on the first time through, (ie, during the bassoon variation, leave the flute for the second time only.) It should be an enjoyable piece for the kids, especially the instruments that usually get to count 768 measures of rest only to play 1-5-1 and start counting again. Again, well done. Tim
  11. Adrian, It's nice to see a band piece that uses the full clarinet choir. To many current pieces, (mine included) have stopped using all but the Bb and the bass. (An unfortunate result of too many schools not having the funds to provide the instruments in their programs.) Very nice writing for the ensemble overall and well orchestrated (bandestrated?). I like the melody you created at m39, however, to me the 16th note turn in the second measure feels awkward. I also tried playing it, and it plays a bit awkward as well. I think a simplified turn would flow better for both the player and the listener. I'm curious as to why you chose to use a transposed C score. Just not used to seeing this in band literature. The piece is titled well for the storyline you created. It could stand on the title alone. Thanks for sharing this. Tim
  12. Very well conceived and written piece for band. You have some very nice melodies in here, but the counter-melodies throughout are truly magnificent! Good work. Tim
  13. Once again Sojar, Bravo!
  14. I like this. I too, didn't really hear the story, but no matter; it's still a great piece of music. Question; Do you hate low brass players?lol The run in the B tbone in m23? Seems to be a bit ambitious for all but very accomplished players imo. Well written none the less. It is a nice fusion of ensemble and style. Tim
  15. Wow! How beautifully conceived and executed. The subtlety of the connection to the image was impressive. The flying birds with the piano at :40, the sustained violin at 1:39ish, and again the piano playing off the final bird at the very end. Truly well merged with the film. I also listened without the film and liked the fact that the music was able to stand alone. Well done. Tim