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danishali903 last won the day on February 28 2017

danishali903 had the most liked content!

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About danishali903

  • Rank
    Advanced Composer

Profile Information

  • Gender
  • Location
    Troy, MI
  • Interests
    Music (duh), Movies (good ones), Books (the classics)
  • Favorite Composers
    Mahler, Bartok, Beethoven, Mozart, Tchaikovsky, Brahms, JS Bach, JC Bach, John Williams, Vaughn-Williams, Stravinsky, Rachmaninoff, Prokofiev, Rimsky-Korsakov, Ravel, Shostakovich, R. Strauss
  • My Compositional Styles
    Neo-romantic, neo-classical
  • Notation Software/Sequencers
    finale 2014.5 and GPO 4
  • Instruments Played
    Violin, Viola

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  1. I think you'll be fine with either being a judge OR an entrant. Let me know what you decide. Does that mean you'll enter...? Cause I hope you do :)
  2. To your first question: yep! I think that mostly would be for the string parts than anything else. But if you're gonna use the entire string section, I don't think you have to be THAT specific in terms of how many players in each section. As to your 2nd question, that is a little bit more subjective. I think the best example would be to look at all the orchestrations of Pictures at and Exhibition, and see (and hear) how each composer approaches each section and adds something new.
  3. Young Composer’s Spring 2017 Competition Spring is in the air! This competition is going to be a little different than most others, and will be a based on the following scenario: A regional chamber orchestra is commissioning composers to orchestrate three spring months, specifically March, April, and May, from Pytor Ilyich Tchaikovsky’s piano work, The Seasons Op. 37a. The orchestra has the following instrumentation available: 2 Flutes (both can double piccolo) 2 Oboes (2nd oboe can double English horn) 2 Clarinets (Bb, A, Eb, bass clarinet doublings allowed) 2 Bassoons (2nd Bassoon can double Contrabassoon) 3 French Horns 2 Trumpets 1 Trombone 3 Percussionists (including timpani) 1 Harpist 8 1st Violins 7 2nd Violins 5 Violas 4 Celli 2 Contrabass TOTAL of 44 players The orchestration of all the movements must feature at least 14 players from the orchestra. Entries that exceed the instrumentation listed above (44 players) will be disqualified. Please try to keep the instrumentation as consistent as possible for all three movements. To enter this competition you must meet the following requirements: Be a member of YC Signal your desire to enter by May 15th by commenting on this thread. At the time of submission, submit a score with proving that you meet the instrumentation requirements (NO EXCEPTIONS), and an audio mockup (MIDIs are acceptable). We also want members of this site to volunteer their time to judge. If you do volunteer, I ask that you have some working knowledge of orchestration. Entries will be scored on the following (these guidelines are somewhat general at the moment, but might be expanded upon later): Orchestration - How well does the entrant write for his chosen ensemble? Does the entrant exploit different colors through different instrumental combinations? Does he add any originality to the work? 35 PTS Instrumentation - How well does the entrant write for each specific instrument? 30 PTS Quality of Score 25 PTS Quality of Audio 10 PTS TOTAL 100 PTS Please observe the following deadlines: Signal to enter or volunteer to judge: May 15th, 2017 Entries must be submitted by June 4th, 11:59 PM EST I have attached a PDF of the three movements in question to this thread. Happy orchestrating, and good luck! DO NOT SUBMIT ENTRIES ON THIS THREAD Entrants: 1. Monarcheon Judges:
  4. I like how @Monarcheon picked Thoroughly Modern Mille (such a fun musical)! I guess my broadway dream conducting would be for Phantom of the Opera and Carousel. In terms of concert/opera music: 1. Rite of Spring and/or Petrushka- Stravinsky 2. ANY Mahler work 3. Beethoven's Symphony 7 4. The WHOLE Ring Cycle 5. Ravel's Daphne et Chloe (the ballet, not the suites) 6. Prokofiev's Romeo and Juliet (again the ballet, not the suites) 7. Berg's 3 Pieces for Orchestra 8. John Adams' Short Ride in a Fast Machine oh there are so many more....
  5. Oh this is a toughie! All of the above orchestras are..."good", but each orchestra is lacking in one or more of the categories listed in your original question. So to answer your question, I've narrowed it down to three orchestras that I think have had consistent quality level of performance, AND fresh programming that explores and encourages new works, AND involvement in the community. In no particular order, they are: New York Phil, Los Angeles Phil, and San Francisco Symphony. I think the following should also be on your list for the poll: as bkho mentioned, Boston Symphony and Cleveland (both are a little old-school, but they sound amazing); Pittsburgh Symphony (a little old school too); Detroit Symphony (hometown orchestra, so a little biased, but they've been doing cool things lately); and the St. Louis Symphony. As to the "Greatest Orchestra of the Day" around the globe...Berlin Philharmonic (with Vienna Phil and Concertgebow tied for 2nd place)
  6. Wow! Not much to say or critique here. The 2nd Viennese School influence can be heard, but your writing and the subtle colors you use sound very original. I'm also impressed by the playing of the Hugo Wolf Quartet! This is definitely not an easy piece to play, yet their intonation with those double stops is flawless, and how they bring out those complex rhythms is just stunning. Kudos to everyone!
  7. The audio player cut out on me half way through, but I got the general idea. You pretty much got the sonata form down, so no complaints there. It's interesting in the 1st B theme section, you chose to go to E flat major rather than D major. I think what you did works well within the context. The development section was also very good, though I felt there was a slight tone/character from what came previously. The orchestration textures and harmony made it sound like something Tchaikovsky would write...but it wasn't too bad. Harmonically, there were a couple of odd-ball dissonances thrown in randomly...was kinda odd. I agree with maestrowrick, counterpoint can really enhance this piece. Orchestration was good. Personally, I would do away with the trombones. You're string bass writing seems to be on the higher range side, I think some of the passages should be brought down an octave to double the celli (an octave lower). I've seen Contrabass and Double bass notated in scores, although I do prefer using "Contrabass" myself.
  8. After doing research, Finale started shipping with limited garritan sounds with finale 2008. Still not the best sound samples...but better than MIDI or whatever else.
  9. Does Finale 2010 even come with garritan? I thought they only shipped it with 2012 and later. In any case, the garritan library that comes with Finale pre-packaged is not that great. That's why I purchased Garritan Personal Orchestra. Not the best sound library, but it's cheap and it gets the job done (plus I love the piano and wind samples they've got).
  10. It's a promising start! You have a nice melodic subject, with adequate harmonization....it COULD use a little more counterpoint, but for now it's good. I guess for the next steps, you have to develop that melody, and possibly come up with a second theme that gels in nicely...and then develop that too! Do you have a score you can post? I think we'll be to give you more detailed info regarding instrumentation if you've got that.
  11. Since I have other stuff going on this time around, I volunteer to be a judge
  12. While this is an over the top parody of the Barber Violin 3rd movement, it also feels like an homage to that piece. Starting from that snare drum rhythm (which I believe occurs in the 2nd half of the Barber movement), the big orchestra tutti attack chords, the devilish time signature changes, and off-kilter rhythms, and the general perpetual motion feeling of the piece is very similar to Barber. The tempo of your piece is a bit TOO fast..even violinists who play Barber at the tempo (excluding the finale bit of Barber) miss the subtleties by playing it too fast. I agree with MaestroWick, in that some of the acrobatic violin stuff will be covered up by the orchestration, mainly towards the end. Is measure 93 even playable? At best it's gonna come out sounding scratchy and non-pitched. In measure 76 (and whenever that happens), wouldn't it be better for strings to play those all up bows. I feel like down bows would make the sound more weighty, and the strings are just accompanying there.
  13. I was going to comment on the similarity between the Sondheim theme and yours, but Ken beat me to it lol. Generally it's a very well constructed piece, very upbeat, with catchy melodies, sharp orchestration, and interesting harmonies. I think it maybe a little TOO "economical"...I wouldn't have minded another theme, possibly something contrasting in mood, key, tempo. After all, rhapsodies are suppose to be more improvisatory with a range of contrasting moods. Also, since you feature the piano as a solo instrument, I was wondering if a bombastic cadenza towards the end would be appropriate? Thanks for sharing, and nice to see you back on here!
  14. Umm, you can do it if you want to. I still have to go polish yours a little bit more before I make a recording though, lol
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