Adrian Quince

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Adrian Quince last won the day on March 20

Adrian Quince had the most liked content!

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About Adrian Quince

  • Rank
    Intermediate Composer

Profile Information

  • Gender
  • Occupation
    IT Consultant / Freelance Musician
  • Favorite Composers
    Beethoven, Handel, Shostakovich, Persichetti, Sousa, Stravinsky, Hindemith
  • My Compositional Styles
    Neoclassical / Neoromantic
  • Notation Software/Sequencers
    Finale / Garritan
  • Instruments Played
    Trumpet, Euphonium, Tuba, Horn, Trombone, Voice, Conducting

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  1. Hey, @Luis Hernández, this is really cool! Love the colors and the groove. Makes a possibly pretentious idea like prepared piano very accessible and fun.
  2. Very cool! Two comments: 1. I wanted to hear more! You had a nice groove going and I didn't want it to stop when it did. 2. Jazz players don't play C trumpets. The only instruments built today to get the smoky jazz sound are in Bb.
  3. Hi @tmarko, Thanks! I'm pretty happy with how the piece turned out. In terms of how I approach notation, it really comes from being a conductor. Rehearsal time is valuable, so I always gear my notation to avoid questions and ambiguities. If I'm unsure on a particular topic, I'll consult my trust copy of Behind Bars by Elaine Gould. The book is written with the mindset of producing the clearest notation possible. I personally think it's a must have for any serious composer. Finally, editing music is super tough, especially if it's your own. I find my eye "filling in" things all the time, like that darn flat that I swore was in the tuba part... One trick I picked up from my mom, who used to edit a newspaper, is to use a piece of paper to reveal one staff at a time while reading down the page. It forces the eye to stay in the details and not zoom out.
  4. Hi @Monarcheon, sure thing.
  5. Hi @tmarko, I've played around with different configurations of the 16th-note turn gesture and the smoother it gets, the more classical it feels to me. There's a certain amount of kitsch in the music that I'm hoping gives it some character. Regarding the null key signatures, there are portions of the piece where the tonality is shifting every 3-4 bars (like mm. 1-22) or extremely nebulous (like mm. 109-131). In these places, it doesn't make much sense to me to put a key signature on it. Key signatures carry certain expectations with them when players see them in a part that the material doesn't fulfill. There are other portions, like mm. 39-57 and mm. 58-99, where the music could definitely take a key signature since they have a strong tonic. My feeling, which may be wrong, is that a piece should be consistent about using key signatures or not, since a null key looks like C Major/a minor when used with other key signatures. When dealing with different transpositions, I've seen this generate a lot of questions as musicians compare their parts. BTW, in looking back over the piece to check where I could put key signatures, I found a couple of typos. Thanks!
  6. Hi Noah, The revised score is a much easier read. Nice job on the revision. Only thing I see is that your Piccolo isn't transposing down an octave correctly in spots.
  7. Hi @tmarko, Thanks for the comments! Re: the turns around m. 39, which instrument did you try playing them on? Re: the transposed score, it's the preference of the conductors I usually work with. I went with null key signatures when I set up the work because it originally it shifted tonality a little more than the final version does. I may revise it to use key signatures appropriate. Re: the story, I didn't originally have it fleshed out as thoroughly, but it was part of the requirement for the contest here.
  8. Hi Justin, I like it so far! It's charming and brings a lot of character out of the clarinet. And personally, I'll take your messy engraving over a lot of people's finished product... (take that as a compliment from a fellow engraving nerd!)
  9. Yeah, it's in the viola. Though, honestly, it's hard to ride an overtone from section strings. They tend to produce a pitch band a few cents wide as opposed to the single note you'd get from a wind or brass instrument.
  10. Hi Noah, I think it's not so much stylistic as technical and notation differences. Unfortunately, while there are tons of materials written on the conventions for orchestra, there is comparatively little on conventions for concert band. As a conductor, I see frustratingly little standardization in things like score layouts. For example, I've seen the bassoon in three different spots in different scores! Anyway, for the saxophones, I don't think it's necessary to add a soprano since that instrument is not consistently available. It'd probably make more sense to bring things down an octave in some spots and realize they're going to be prominent in others.
  11. Looks like a fun piece for an intermediate orchestra. I know a couple of high school teachers who could put this to good use. The parallel fifths in the tubas during the low brass variation were charming to me, kind of echoing Randall Thompson. Regarding the G# entrances in the horns, have you thought about putting a reinforcing note down an octave somewhere in the winds or brass? As a brass player, it's nice to have an overtone to ride on a high entrance. Bassoon maybe? Normally I'd say trombone, but I really don't trust an intermediate trombonist to be that reliable in pitch.
  12. @punintentional, I have one question for you: Is the 5/8 really 3+2 for both voices the whole way through? Or is one of the voices really 2+3 due to the retrograde?
  13. Hi Noah, Nicely done! I love the story and they way the musical textures track with it. Also, very nice use of the colors of the wind ensemble for variety. A couple of cautions about the saxophones: Alto and tenor saxes above more than two ledger lines above the staff (transposed) project a lot. This can be fine in a solo passage, but high saxophones can dominate tutti textures (and not in a good way). Also, note that intonation in that register for saxes is problematic as they tend to go sharp trying to maintain the compression needed for those notes. Finally, there are conventions for wind bands that are different from orchestral writing. Some comments on band-specific things in the score: General 1. When possible, favor flat keys over sharps. Db and Gb are highly preferrable to C# and F# for a band, and even Cb can be easier to read than B if you use a lot of E#s and B#s. Remember that the transposing instruments in a band universally add sharps, so a key signature that starts with sharps gets gnarly pretty fast. 2. Check the spelling of your lines after transposing. A line in all sharps in concert pitch will start producing double sharps when transposed. Instrument-specific 1. The piccolo is notated with a standard treble clef. The octave transposition is assumed. Using the transposing treble clef may introduce a question as to which octave the part should be played in. 2. The current practice is to group all double reeds together from high to low, so Bassoons would go immediately below Oboes. This makes it clearer for the conductor to distinguish WW families by sight. 3. Bass Clarinet is always in treble clef, written up M9 from concert pitch. Bass clef is no longer routinely taught to bass clarinetists, even in universities. 4. Trumpets go above Horns in a wind ensemble score (opposite from orchestra). This arranges the brass from high to low. 5. Trumpets are always in Bb. Many wind band trumpet players will not even own a C Trumpet. 6. Horns are always in treble clef, regardless of ledger lines. 7. When you get the opportunity to perform this, please provide both treble clef (in Bb, up M9) and bass clef (concert pitch) Euphonium parts. The players will thank you! 8. The key of the Tuba should not be specified. Most wind ensemble tuba players will be playing a BBb, since that provides the largest sound to support the band. Some will use an oversized Eb to do the same thing, but it's not something to count on. CC and F tubas are rarer in bands since they are harder to tune with the Bb brass (trumpets, trombones, and euphonium). 9. Always write ledger lines below the staff for the tubas in their parts. It is acceptable to use 8vb in a score to minimize ledger lines. The transposing bass clef should not be used for this purpose. 10. You might get something unexpected when writing x noteheads for the Snare Drum. Some drummers will see that an assume it's on the rim. (If there was a specific effect for the x noteheads, I didn't see it called out.) 11. Snare and Bass Drum can share a 5-line percussion staff. Place bass drum in the first space, stems down; place snare drum in the third space, stems up. This is a common convention dating from the Sousa era.
  14. The outer sections work really well for me. Laughed out loud more than once! But I lost the humor in the middle section. Seemed too regular to me given the obvious humor before and after.