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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. I use Finale for final engraving but I write and render with Notion. I don't write with contemporary techniques as Luis does so I haven't encountered these limitations. Notion is very intuitive to use and has an ok set of packaged sounds, but it can also use any VST you may choose in the future and is able to be customized for each. I use GPO and the EW libraries and both work well. The price is about $150US and there are crossgrades available if you have another notation program. Finale will work with other VSTs but I only use GPO with it. They are both made by the same company so they are pretty seamless. I also have Sibelius and Overture, but don't use them much. Since the original developers left for Steinberg (Dorico) I'm not sure how much development is going into the future of Sibelius. It will handle other VSTs, but you need to either be a programming genius or by one of the soundsets available for it. Overture has a lot of nice features for playback and can use a variety of VSTs, but it's not very user friendly. Like Luis, I've learned Finale and am most comfortable with it. I use StaffPad also for jotting ideas, sort of an electronic manuscript paper but I wouldn't use it for rendering or final engraving. I tried the Dorico demo and after all the hype, I wasn't that impressed. I know some love it. Like Luis said, get one and use it and allow for the learning curve they all have. If playback is what's important to you, You'll need to look to one that can handle various VSTs.
  2. Sketch No. 233

    Neat idea. I don't do atonal, but found myself caught up in this for some reason. You titled it as a sketch, what are your plans for it? I'm interested in hearing where you go with this. Tim
  3. Valse de Cirque

    Well done. I actually liked the strident horn parts especially at the end. Wake the dancers back up!
  4. Introspection #1

    Luis, thanks for listening. Monarcheon, is the lack of low tones a writing problem or a rendering problem? (Sorry about the minor 6!) Maestro, I'm definitely going to revisit this and try to expand it into a bigger work. Again, thanks to all for your comments. Tim
  5. Sonatina for Violin and Piano

    Tobias, I think this is more what Maarten had in mind.
  6. SAXOPHONE WRITING

    This is a great piece to show off the capability of the sax as an ensemble instrument. The nice thing is the versatility and agility of even the low voices. I think the instrument is used so rarely in orchestral music is it has a very "unique" sound that tends to not blend well with the rest of the ensemble. (Concert/symphonic bands don't have this problem as there are multiple players that produce a thicker sound making the sax an easier fit into the spectrum.) Ravel used sax for this reason in his arrangement of "Pictures...", it was easy to make it stand out with it's eerie quality. I've seen more recent composers attempting to use the instrument, some to great results. Besides, if not for the sax, Woody Herman wouldn't have had "Four Brothers"! Looking forward to next weeks video! Tim
  7. Introspection #1

    While cleaning up my various notes and sketches from my computer, I came across this piece I did a while back. I've long been a fan of "Appalachian Spring", and in particular, the original version for chamber. I decided to attempt to use this type of ensemble but added horns oboe to have a full wind quintet. The second horn was for added color. It was more an exercise in smaller mixed group writing for me. Comments appreciated. Thanks Tim
  8. How to notate this?

    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
  9. SUMMER 2017, COMPETITION ANNOUNCEMENT

    Please add me to the list. Tim
  10. How to notate this?

    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
  11. In a transposed score the clarinet sounds whole step lower. In measure 1, the clarinet sounding pitch matches the C# in the piano.
  12. Life in a nutshell

    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
  13. Quintet in F

    Thank you all for listening. I found I really liked writing for this particular ensemble and will be doing more in the future. Tim
  14. Stargazer

    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
  15. Stargazer

    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
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