Michael A. Garman

I SHALL TAKE UP THE CHALLENGE! :D

What job did you get Chris?

I would think written C above the staff. It is the highest note before you are controlling squeaks with stranger fingerings, and it is only a little bit of the clarinet in use. really fabulous players could play higher. Myself, I can breathe out the highest note on the clarinet (super C) at a piano dynamic, but I can't play the note a step beneath it to save my life. SOOO i would say C (Bb concert)

I listened to this piece, and I really liked it, but I felt it was SOOO LONG, and I thought "When will it ever end?!?!" Then I realized it had been repeating for like 10 minutes. :facepalm: Very cool. I agree with whoever it was commented about a sort of layering feeling... a dimensional space, as if observing a 3-d sound object, and as it turns, it hits you in different places. I wish I had good ideas. ;-)

can we have a score?

Really?! I find that fascinating! :w00t: But yes, troublesome. I just started writing a piece for Horn and 2 Toms. Should be interesting. Thanks for the universal heads up!

Deadline is much now past, does anyone have any submissions?

I got a chance to see Tan Dun's "Paper Concerto" a few years ago. Talk about creativity meets technical ability.

no submissions yet... go ahead i guess

Ok how are people on the pieces? submissions?

Dan is a smart man. You should further delve into opera and styles practice small before you just attempt grand. every great composer has an opera, maybe. they didnt become great because they wrote one, the became great because they did all the work studying and writing small pieces to master style and orchestration, and then they were able to take on this powerful art form successfully due to their skills.

1 can only play horn, 2 can only play those clarinets, and 3 can play all that was listed. she is a very talented person. :D

I was just in a masterclass with Bright Sheng and he said the American saying "you are what you eat" as a representation of musical personality. I feel your personality drives not only what you write, but also what you listen to. What you listen to then has a big part on what you write. You can write sad music if you are sad or happy if you are happy, based on short-termed emotions, but thats superficial. If you are talking about the hidden pain locked into the music of such as Shostakovitch, a lot of that comes from his personality, but wouldn't be as expressible if not for what he listened to.

I just started taking Jazz Records at UNT with Jay Saunders, and i expect that class will be a labor-intensive course that will expose me to a lot of records I should know. I also talked with Paris Rutherford about jazz arranging, and we spoke briefly about voicing, especially in piano. What can we talk about that kinda stuff?

sure guys, have a bit more time. composerorganist, go for it.