Jump to content

Hugget Zukker

Members
  • Content Count

    52
  • Joined

  • Last visited

  • Days Won

    3

Hugget Zukker last won the day on June 14

Hugget Zukker had the most liked content!

Community Reputation

12 Good

About Hugget Zukker

  • Rank
    Advanced Member

Profile Information

  • Gender
    Male
  • Occupation
    Frontend developer (JavaScript)

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Hugget Zukker

    SUMMER 2018 Competition: Submission Link

    I'm really sorry about this late announcement: I shouldn't have entered the competition, but due to poor judgement, I thought I'd be able to participate. I've been too busy to make an eligible deliverable in time. I've barely started on a few different ideas, but haven't gotten anywhere with them, and at this point it's too late. I'm so sorry.
  2. Hugget Zukker

    SUMMER 2018: COMPETITION ANNOUNCEMENT

    I almost forgot. Hi, I'd like to partake in the apocalyptic competition. It's hard for me to promise much, but I will really try to make something qualifiable before our times run out.
  3. Hugget Zukker

    Bassoon or English Horn?

    The heckelphone sounds very beautiful. I may prefer its sound over that of the English horn. It's quite rare though. Then I may write it "for heckelphone", but make it playable on the English horn.
  4. Long ago, I had started but given up a piece for piano and oboe, but recently I found it again, and decided that it needed a darker tone, so I tried writing it for the English horn instead of the oboe, but perhaps the English Horn was not dark enough, so I also tried the bassoon. Here are versions with the bassoon and the English horn respectively, for comparison. I think I prefer the possibilities of the bassoon for further work on this, but the English horn is also beautiful. I think the bassoon lends it a more narrative feeling, but the English horn gives it more poignancy. I want something in-between - an English bassoon!
  5. Hugget Zukker

    Bassoon questions

    I want to write a duet for piano and bassoon, but I don't know much about the bassoon, so I have a few questions. I apologize if my questions are too loaded with ignorance, or too general: You don't have to answer them precisely, but if you can share any advice, that would be wonderful. Tessitura and dynamics: How does tessitura affect the ability to control dynamics? Tessitura and sustain: How does tessitura affect the amount of effort needed to sustain a note? Trills and runs: What is the difficulty of trills and fast runs on the bassoon? Are certain keys more feasible than others? Leaps: I've noticed that bassoon lines often feature large leaps and arpeggios. To what speed and range should I limit them? There may definitely be important questions which I have overlooked, so anything else about bassoon writing is appreciated. Thank you very much.
  6. I had never heard of this until today. Sorry if that's a disappointment, but I don't care. I find this so interesting and gorgeous.
  7. Hugget Zukker

    Sally Forth!

    I like this, especially the brasses, but it sounds unfinished due to the sudden fadeout.
  8. Hugget Zukker

    Celtic- the New Rearrangement

    I had not heard the full story until now; interesting. @Luis Hernández Thanks! I am highly grateful for the opportunity, encouragement, and freedom I was given. I was worried about doing something which might undermine the composer's intentions. It's a little bit scary to add driving percussion to another person's dear piece for strings. It was at first a leap of faith to take it in this direction, but I'm relieved by how it worked out and Rabbival's reaction. I got his feedback and guiding hints along the way.
  9. Hugget Zukker

    Sylvan Band

    I like it! If you'd like, I could arrange a version with sample modeling instruments some time. PM me.
  10. Hugget Zukker

    Sylvan Band

    I'm flattered! Did you do well at the exam?
  11. Hugget Zukker

    Libraries not split by instrument

    Sorry, I don't have experience with them, but my theory is that it's an attempt to offer an efficient compromise to producers who might have neither, or not have either, the patience for the full detail of the orchestra, n/or sufficient horse power to run the full gamut of instruments. I'm not interested in buying it any one of these days. Even though my computer can't deal comfortably with tutti made of normal VSTs, I don't find Albion One appealing enough to throw my money at it. It would end up sitting around on my hard drive, and I'm running out of space. I find Metropolis Ark 2 particularly odd: It has a patch made of basses with cellos an octave above 😒
  12. Hugget Zukker

    Sylvan Band

    I believe I finally completed this piece, which, based on previous feedback, I think is in the general style of a European folk tune hybridized with a march. Earlier I posted an incomplete version, which you can check here for comparison: Thanks to the people who responded to the incomplete work, for their motivating reactions. Thanks to Rabbival507 for suggesting a "fast section" - a device I have noticed in folk music. I went with it, which kickstarted me again. It's 2 violins, viola, cello, 2 unison double basses (pizzicato only), concert flute, bass flute, nylon string guitar, tambourine, cymbal, snare drum, and bass drum. EDIT: AND TRIANGLE! A dutifully returning main theme is interspersed with a chorus-like secondary theme, and variations and spinoffs on the main theme.
  13. I love how they enjoy themselves! Hiromi's playing sometimes frightens me (in a good way.) I love how crazy she went after 6:00.
  14. Thank you all for the feedback, but I'm actually still struggling to write the rest of the piece. I believe that a contrasting section is appropriate at this point, and I'd like to modulate the way you hear at the end of the unfinished piece, but no matter what I try to write, it seems too different from the rest. Should I reuse melodic material? I feel like it's already exhausted. It's like my structural sense is only developed to a certain point, and once I push beyond that everything feels off.
  15. Thank you for the suggestion and the appreciation! The violins, viola, and cello are all Sample Modelling. I used to think the SWAM strings were second rank, but I have warmed up to them. I don't use a keyboard, but place notes off the grid, and draw curvy automations of dynamics, bow pressure, and bow position. If you think that's a lot of work, you're right, but I enjoy "painting" music. I want to be a naturalistic music painter.
×