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Jacob Hall

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About Jacob Hall

  • Rank
  • Birthday 11/28/2000

Profile Information

  • Gender
  • Location
    Florida, USA
  • Occupation
  • Interests
    Reading, Playing Piano, Marching Band, Trombone
  • Favorite Composers
    Rachmaninoff, Bach, Ornstein, Holst
  • Notation Software/Sequencers
    Finale Songwriter 2012
  • Instruments Played
    Trombone, Piano

Recent Profile Visitors

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  1. Loved it. There are not enough 21st century works for TTBB in my opinion.
  2. I've been playing trombone for several years now; this is my first serious attempt at writing for the instrument. Measures 1-6 introduce the listener to the polyrhythm. Measures 7-14 is the opening period. I want to eventually flesh this out into a substantial A-section. I have not started a contrasting section, but measures 15-16 are a climax into a renewed A-section. Any ideas for developing the opening further? I'm also looking for texture-related suggestions so that the 4th trombonist isn't bored out of their minds. 😛 My only idea is to double the melody in thirds for the renewed A-section.
  3. I'm trying to create a polyrhythm in 5/4; one part is playing 5 beats, and the other part is playing 2 beats. I'm unsure how to organize the notes and the rest for the 2-beat part for easy sight-reading. The first one is Finale's default, the rest are variations on the same idea.
  4. You need to be a little more specific. If you're talking about opera, lyrical basses are lighter, and usually go down to E2. You can write D2 for a part that's mostly lyrical, but don't expect them to hold it out for long at such a loud volume. Dramatic basses are heavier and more comfortable with D2. Their range is typically limited to C2. Basso profundo is rare. Works like Do Not Reject Me in My Old Age are very 'niche.' If you can even find someone to perform a work like that, be prepared to pay. TL;DR As long as most of your solo bass part is within the bass clef and provides room to prepare, a low D2 at fortissimo PROBABLY won't hurt.
  5. @Rabbival507 I understand the console problem; sorry about that. I'd like to play Breath of the Wild, but I'm not going to buy an entire Nintendo Switch just to play one game.
  6. The best way to experience a video game soundtrack is to actually play the video game. Ocarina of Time was a major expansion for the soundtrack, since music is integrated with the gameplay. Themes from Ocarina of Time have been constantly recycled and reimagined in later games. Wind Waker is a personal favorite of mine. Twilight Princess is a darker, more mature take on the Zelda aesthetic, and I think the soundtrack reflects it. I have yet to play Breath of the Wild, but I've heard it's pretty good too. 8-Bit Music Theory is a Youtube channel that does really good analysis of video game music. https://www.youtube.com/watch?v=BNH2pKfvyPQ https://www.youtube.com/watch?v=tl-6K3zrcr0
  7. It's so haunting. 😍 The quarter note triplets were really good for building tension. I would've like to see more of that.
  8. I enjoyed listening to @Some Guy That writes Music's arrangement very much. I also really enjoyed the Howells setting. I grew up singing this melody. https://www.youtube.com/watch?v=RVQmZCK4Fiw
  9. I love the modal flavor. I've always associated Dorian with worship because I grew up playing the Legend of Zelda and the Temple of Time theme is in Dorian.
  10. I love the atmosphere of the song, but sometimes the way eighth notes are grouped, or the rhythms are written, my eyes and ears are confused on whether this is intentionally in 6/8, or if it's in 3/4, or if you're going for 2/4 with a triplet feel. For example, if measure 2 were a true 6/8 measure, I would change the half note to a dotted quarter note tied to an eighth note, and then connect the new eighth note's stem to the other two eighth notes. Right now it looks like a 3/4 measure. Another example is measure 35/36. When you have a series of quarter notes, you end up accenting the offbeats of 6/8. It really contrasts the other parts as well as the general feel of the piece, so I guess I don't know why they're there, unless rhythmic contrast was the goal. My suggestions aren't really composition-related, but when an accompanist has to learn this piece in a short time, or even sight-read, it's a major help when all of the engraving is consistent. On a different note, I'm genuinely curious about your choice of accidentals, especially like the ones in measure 14. What led you to them?
  11. Thanks guys, I want to start working on a revised version of this. I came up with it impromptu one afternoon, and now I realize I definitely didn't pay much attention to the up-bow/down-bow nuances that I should have. @Monarcheon just to be clear, when you say grace note double stops, do you mean it would be easier to interpret if I wrote the bottom notes as grace and leave the top two as quarter notes?
  12. Yeah, the software doesn't interpret chords on the solo violin stave as multiple stops, which irks me. And thank you!
  13. No, I don't have access to a violin myself, I am not a violinist. This mp3 is a MIDI playback from Finale Songwriter 2012.
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