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bryla last won the day on August 27 2019

bryla had the most liked content!

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About bryla

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    Starving Musician
  • Birthday October 27

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  • Biography
    Born, raised, playing music
  • Gender
  • Location
    On the countryside
  • Occupation
    Musician, music teacher
  • Interests
  • Favorite Composers
    Mozart, Beethoven and so on
  • My Compositional Styles
    The ones that fit
  • Notation Software/Sequencers
    Sib7, Logic8
  • Instruments Played
    Keyboards and Theremin

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  1. Go to your local music school/college and spend an hour with a percussionist on listening to the weird things they can come up with! Much better and more informative than a table of techniques someone else has acquired.
  2. 1: hairpins are twice as thick as they should be 2: not a question of preference 3: It's not a question of whether I like it or not. I understand intentional clashes. If they however are undeserved or out of place they don't really belong or you have to make it deserved by bringing us in to it. In the Andante bar 5, 6th 8th-note the bassoon is playing an F on the pianos D-major. Either write an F# (which is probably not what you want since the melody is what it is) or change the supporting harmony to either support or at least not obstruct the melody. Now if this was a more atonal or 'sharp' (for lack of a better term) setting this would be fine but you haven't invited us in to that kind of setting to deserve that kind of tension.
  3. I would revoice some of your low intervals so they resonate more - moving them up in the tenor register. Either simply move it up in the chord or invert the interval. You B-flats should be spelled A-sharp
  4. Why do the hairpins look so weirdly thick? For pedal markings you should use a continuation line instead of consecutive ones. Have you tried playing both instruments as a piano reduction? You have some spots were they are fighting each other either harmonically or registrally.
  5. Some pointers on notation: - Bassoons are the lowest staves of the woodwinds - Horns are above trumpets. (bracket those horns) - Euphonium is above bass trombone - Consolidate all percussion beneath the brass. Timpani don't bracket. Timp don't take key signatures as well (neither do horns and trumpets) - Tempo information goes above the system and above Strings. - no viola? Those first chords really need them and second violins. Too many small intervals at the bottom for sonority. - slurs go to the end note in a tie. Get a habit of writing flutes 1 and 2 together as well as all other instruments 1 and 2. Makes for a way better read. Remember since you use Sibelius to hold down cmd or ctrl while inputting 'mf' or 'fp' for expression. Slurring in strings is quite different than for winds. A two bar slur in bars 10-11 is too long of a bowing. - bar17: a2 trumpets is not a solo. Neither is bar 30. - A Tempo AND Meno mosso? Don't make no sense - tutti is only a string or section term. It has no place in bar 32. Second movement: bar 1: solo? only 1 player? should be bar 1 when you start a new movement. bar 2 and on: again same thing with slurs and bowings. page 8: flute too low in general. Also don't write flute 2 generally higher than flute 1.Goes for all instruments.
  6. Congratulations on the collaboration! Doubling the piano melody in a solo violin with a solo flute countering – and doing it all the way through – doesn't compliment the piece. Think of the three as serving the three roles of music in melody, harmony and rhythm to create a more interesting arrangement. The mix with the overly reverberated flute and violin doesn't make it sit well and accompanying three soloists with a very upfront percussion section makes everything out of balance. The percussion is way too dominant to be subtle and supporting. In a sheer natural orchestral acoustic way it simply don't compliment each other and I am not surprised you couldn't manage to make it work in the virtual realm.
  7. Okay, so there are several ways to do this and it can seem very confusing at first. Let's look at the two different conventions of key signatures. 1: The key signature of a piece (or section of a piece) is presented at the clefs. In D-major the flute, violins and the like will have two sharps, clarinet in A will have one flat. The horns, trumpet and timpani will have none. If the horn should sound an F# it will be written a fifth above as C# with an accidental. If the trumpet should sound an F# it will be written as an F# with an accidental (because writing the trumpet in concert is preferred for trumpet players, so they know how they should transpose, should they choose to play on another trumpet). 2: The key signature is absent on all staves. This does not mean that the piece is not in D-major. It's just that all the F#'s are written with an accidental (with the rules of course that the accidental lasts the rest of the bar, in the same octave and the same clef). If the horn should sound an F# it will still be written a fifth above. Compared to the previous way, there is no apparent way to immediately see if the score is transposed or not, so the first page should be marked either TRANSPOSED or CONCERT. This leads us to: - Both of these options can be written transposed or in concert. - 3: In transposed score is what I described that in D-major the Clarinet in A will have the key signature of F-major (sounding a minor third lower). If there is a key signature it takes the one flat. If key signature is absent it simply has the notes of the F-major tonality. 4: In concert score all instruments will be written where they sound. If key signature is present the Clarinet in A will have the same key signature as the flute (but not in the part. The part will always be transposed). If key signature is absent it will just have accidentals but an F#'s sounding will be written as F#.
  8. Yes the convention in professional orchestras the last 100 years has shifted to horns/trumpets/timpani to be instruments that don't take key signatures. I guess for horns that has been the case since the natural horn anyway given they only played the harmonic series of C. For trumpets it's because the C Trumpet has been widely adopted and you can't really be sure what the player prefers to play on for any given piece. It's easier to transpose with accidentals. For timpani I guess it's because of the security in pedal changes that either way would need cautionary accidentals. Historically though it was also a transposing instrument playing only C and G and tuned to the tonic and dominant in the given key. Maybe amateur orchestras do it differently – I wouldn't know – but when I work with a new orchestra they give me their specifics for notation and these three instruments are always without key signatures.
  9. Horns and trumpets don't use key signatures regardless of tonality. Choose the instrument in Dorico that is called 'No Key Sig' Not 'play' legato but p legato meaning piano and dynamic. Regarding the B - it's fine that's what you wanted. It just doesn't fit in. Either change the B in the scenario or change the scenario.
  10. This comment comes with the preface of 'I might not know what the heck I'm talking about' and listening up to letter E. Bar 3: You lost me. To really guide me through your idea you have two choices as I see them 1) Start with bar 1 and 2 as they are and follow up by breaking them down or 2) Start with the initial idea and present it before bar 1 and 2. I'm bewildered all the way through the A section so that I get to the B section (which actually kinda makes sense but we'll get to that) I'm totally lost as to what prefaced it. Oh and get rid of the timpani, it seems to get in the way of your ideas. B section: Good initial idea and nice initial incorporation of the B natural. However when the other voices set in the whole section gets a very tonal feeling and the B natural just sticks out. Make it either tonal or make a setting where the B natural will shine. Now on to notation Bar 1 woods (and other places): Slurs missing in some voices. Horns and trumpets don't have key signatures. Bar 3 brass: different dynamics. Make it uniform and voice your chords to suit each other instead of relying on the 'mixing board of dynamics'. Page 2: Pizz are not tied. Write it as an eight note simply Page 3: legato is not a technique. write 'p legato' as an expression. Double barline at new section Page 7: make string diminuendo uniform and collective mp. Page 10: Woods are not playing a solo. What you are asking for is the first player only to play. Write '1.' (also indicate in the instrument name how many players there are!) Page 11: nat. is not necessary. I would however advise you to slurring this section especially. Page 12: Vib. is the natural state. Do you want more? write piú vib. or molto vib. Page 13 E bassoons: I don't understand the point of the figure but delete ord. and rewrite B-flat as A-sharp.
  11. Better to have the score as professional as possible. Just sharing my experience. Good luck!
  12. If you already look to Adams one thing that springs to me is that he never repeats. There's always a temporal displacement of elements, juxtaposition of time or fragmentation (either literal or distorted time fragmentation) much like Mozart's orchestration. I would spend a lot of time just figuring out a development of the first two bars. How can the figure be orchestrated to accent and soften different shades. How can timpani accent different notes to bring out another sense of timing (Adams-like), what fragments can the figure be divided in and how can these fragments be re-combined, transposed and layered. All these new combinations can then be orchestrated in different ways. I wouldn't add melody yet. In fact I would delete the violins/viola and woodwinds since they seem to distract you from your initial idea by being 'something new'. The fact you haven't done this and kinda rushed through it is in my opinion the reason why I and others feel the transition to be jarring. You have not told us anything yet. Also 'pesante' is not really an option for eight notes at this tempo. Notationwise: Since you indicate consecutive down bows for basses you should be conscious of note length. Same with brass and consecutive double whole notes. Same regarding note length is those tenuto/staccato combinations. I know they are meant to mean detaché but they are not used nowadays. Apart from Adams you could probably also get some insights in to this kind of music from Jerry Goldsmith.
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