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bryla

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bryla last won the day on August 27

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About bryla

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    Starving Musician
  • Birthday October 27

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    http://www.bryla.dk

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  • Biography
    Born, raised, playing music
  • Gender
    Male
  • Location
    On the countryside
  • Occupation
    Musician, music teacher
  • Interests
    Japan
  • 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. 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#.
  2. 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.
  3. 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.
  4. 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.
  5. Better to have the score as professional as possible. Just sharing my experience. Good luck!
  6. 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.
  7. Shouldn't pose any problems in a piece like this.
  8. Nice arrangement. If it were me I would make more use out of woods and horns for support. Notationwise: Timpani doesn't have a bracket. Bracket Glock with perc and instead of 'Perc.' Write out the instruments. You still have some layout to clean up with dynamics that are not in place and quarter rests on the two first beats. You also seem to write '1 desk' for basses where '1. desk' is much clearer. Bar numbers only go at the top staff. There are also places where instruments lack a dynamic after a long pause. You overuse the stacc-tenuto and don't seem to have any consistency in it. I would suggest to write out the actual value and choose either one of the markings. Other inconsistencies are for example the last page. You have four different dynamics going on in the last tutti bar. Pick one (and possibly one smaller for brass) and orchestrate the balance accordingly instead of relying on the instruments as faders on the mixing board. Bar 96 also shows a triple whammy of a dotted-stacc-tenuto! That'll raise questions!
  9. You should take your time to introduce the material to the listener. It goes by real fast. Introduce one element at a time and play it through. You lost me at 0:43 and I listened for one minute more. There was no focus in it and it seemed like all the elements fought for attention and nothing supported any of the other roles.
  10. It depends on lots of things especially tempo, dynamic and phrasing and how it connects to strong and weak beats. One could start with not exceed the bar with a slur and not have two identical consecutive pitches in a slur. Like in this piece between bar 1 vln1 D5 and bar 2 vln1 D5. Either that's a tie meaning one long note equal to 6 beats or it's two separate bows (it doesn't mean it's not legato though). Also a notation tip for Sibelius here: When inputting dynamics make sure to hold down cmd (or ctrl on windows) whilst typing 'p' or 'mp'. This makes it the right typeface and makes it play back correctly.
  11. It seems like you wrote the organ part and just copied out to the other instruments. It would suit the piece much more to have the instruments play the roles of the arrangements in support of each other rather than acting as simple stops of the organ. Simply adding dynamics would improve the piece much more. Try not to use mf and make a decision on the dynamic either of the ways. Then think about phrasing and slurring of the bows. Notation wise have the horn at the top and organ between brass and strings. Dynamics in trumpet 1 bar 5 is unnecessary since it had it in the beginning. Organ missing dynamic bar 1. Bar 18 the strings would need dynamics. Also the last four bars have extra hairpins above the system? It seems to me you are relying too heavily on the comma. Try not to use it notation and take deliberate choices on note length.
  12. I would encourage you to study up on string bowings. Your slurs are way too long for how it would be performed.
  13. Hey Oscar, Congratulations! Sound amazing 🙂
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