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Jacob Hall

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About Jacob Hall

  • Rank
    Member
  • Birthday 11/28/2000

Profile Information

  • Gender
    Male
  • Location
    Florida, USA
  • Occupation
    Student
  • 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

488 profile views
  1. WINTER 2018 COMPETITION: ANNOUNCEMENT

    Would like to participate.
  2. Dance for Violin

    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?
  3. Dance for Violin

    Yeah, the software doesn't interpret chords on the solo violin stave as multiple stops, which irks me. And thank you!
  4. Dance for Violin

    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.
  5. Dance for Violin

    I've been studying violin instrumentation for a bit, and the last resource I looked at was a video by Thomas Goss on unaccompanied violin scoring. At the end of this lecture video, he asks the viewer to compose a 2-3 minute piece focused on lyricism and craft. This is what I came up with: my first attempt at violin scoring. The playback on my notation software is pretty crappy quality, so just to be clear, I mean the quadruple stops to be two successive double stops, favoring the top two notes. And the accelerando does not really stop at m. 39, that is just another inconsistency with my notation software. :/
  6. FALL, 2016: COMPETITION ANNOUNCEMENT

    I would still like to compete, but I was wondering if in my entry, if I could explain my thought process for each variation, or if it would be ideal for the judges to intuitively understand where each variation originates from?
  7. Serenade for Flute

    Thank you for your response. I tried listening to a lot of flute literature before attempting this and I did think the end product was kind of basic for an unaccompanied solo. And also thanks for the engraving advice.
  8. Serenade for Flute

    A short unaccompanied solo I wrote for one of my flutist friends. My basic train of thought when conducting this was to present a few themes, and then restate them in loose variation style, present a new theme, so on and so forth. When I presented it to her, her only complaint was my grouping sixteenth notes around a key change at measures 15 and 16. I hope some flutists and composers can offer advice and criticisms.
  9. I've recently been researching the harp and have learned things such as the pedaling system, register colors, and idiomatic playing. I've also been exposed to a technique called "pres de la table" which basically means to pluck the strings close to the soundboard. The effect is a darker, edgier sound. I was hoping if a knowledgeable composer or harpist could answer my questions: Is pres de la table an extended technique that should be used sparingly, or is it a color choice that is up to the composer? Also, are there any other "extended techniques" on the harp that I should know about?
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