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Everything posted by Camilla

  1. To notate music. That'd be the first step, I think!
  2. I've actually never used an instrument to compose initially... But I'm the same as robin, I write everything out on paper without an instrument or anything, and then use an instrument to fine tune.
  3. Pathetique. Which is French.. and translates to either "pathetic" OR "moving"/"touching"... So... which do you think Beethoven meant..?
  4. Haha. PRETTY sure it's not "Pathetic Sonata" :D Also, "The Swan" from Saint-Saens Carnival of the Animals and Arvo Prt's "Fur Alina" and "Spiegel im Spiegel" are some of my favourites that haven't been mentioned.
  5. Well the very opening sounds like "Joy To The World"..! Maybe I'm just hearing the carols constantly going around in my head these days in everything I listen to.. Sorry, don't know what that one is! And I can't remember the name of the software, either!
  6. Hmm.. it'd still be pretty difficult. I think you'd be better off going for the left hand pizz. See what other people have to say. I can try playing it that way tomorrow if you'd like and I can get back to you. I just won't be home before then.
  7. First excerpt: That switch in the second bar is pretty impossible, I would keep it all arco or pizz (probably arco for clarity), you could have the second beat pizz but you just can't really change between pizz and arco when using semiquavers. The chord on the first beat, if you chose to do it arco, I would write the G and C as a grace note before the A. Unless you really want it played differently, it'd just be easier that way because the player will feel they can use open strings. If you would like me to explain that further.. I will.. The second excerpt, there's no time for snap pizz there, you could use normal pizz because it's an open string so the player can use their left hand. But otherwise you can't fit a snap pizz in that time. If you choose to do normal pizz just write "L.H" above it, or I think there may be a symbol.. not sure.. The player would likely do that without it being indicated, anyway. For the third one, the pizz in the second bar is not possible, I don't think. Again, not enough time. If it was an open string or something, left hand pizz would work there again. Fourth one is fine. As is the fifth. Although all of them will indeed need very high standard players for everything to be clear and accurate! Hope this was helpful. Camilla
  8. Thirdeded..ed.ed..ed.... I.. agree
  9. YouTube - Vegemite (Australian ad) 1960s
  10. Camilla


    ...This guy is insane... I find phasing really interesting because there are often more sounds heard than seem to actually be played.
  11. I've never seen "mute on" or "mute off", either. They don't use "mettere il sordino" or "alzate il sordino" because it's quicker to just say "con sordino" or "senza sordino".. which is what is most commonly used.
  12. I really don't think you need to worry about giving specific directions about when to put mutes on earlier than when it's actually played with mutes on... the players can think for themselves. If they notice that the mutes disturb a pause bar and there's a way around that they will likely change where they put it on. If they have bars rest before coming in with the mutes on, most would put the mute on as early as they can, anyway. So don't worry about giving them really specific direction. If anything I'd feel a little patronised if someone had made sure I was putting my mute on before the end of my 50 bars rest...
  13. Well, my dad asked me if I wanted to play an instrument when I was about five, and since there was a good 'cello teacher in town that's what I started with. I always enjoyed it and when I got into the higher grades where you get gorgeous pieces of composers like Faure, Elgar, Saint-Saens etc. I came to absolutely love it. My teacher's been a great inspiration but I guess above all for performance it's really the enjoyment from the quality of the music you're playing that really inspired me to keep going and such. As for composition, I started at a much later age (15), wrote my first piece for school and had to enter it into an eisteddfod, ended up getting first place, in my comments the adjudicator added a note with his email saying I could send him anything else I wrote if I wanted some comments. So I did when I wrote my next piece and he was the person who inspired my interest in composing outside of school tasks just through how encouraging he was, we've kept in contact since. Another inspiring thing for composition was hearing one of my works played by a professional ensemble, it's really incredible to have a piece performed and suddenly recall the fact that it's your music. Anyway, that's how it is for me, there was no particular piece, and it's not like I was inspired once and that was it and I was hooked forever, I'm still being inspired and hopefully I'll never cease to be.
  14. Damn it... *shuffles around unwillingly and attaches the file properly*
  15. Since someone else posted a photo.... Here is my workplace! It's all the wrong way around because of my silly computer camera.. but oh well.. /Users/camillatafra/Desktop/Photo 41.jpg
  16. Well... my future plans are studying performance on 'cello at a conservatorium, hopefully leading to a career in performance, I want to compose, too... but I've just played all my life, performance couldn't really become something on the side for me, and I'm pretty sure it's far more difficult to have performance on the side than composition. Plus I think it's far more worthwhile being taught to play an instrument than being taught to compose, which is why I chose performance major over composition. Every piece I've posted on here has been played, even if just in rehearsal, and one has been work-shopped with a professional ensemble, so YC is sort of just for extra feedback. In fact often it's not that useful in that way because I've never posted anything I'm still working on or that I'd be bothered revising. So it's more just to see what people think for future reference when I'm writing. Also it's just good to come on here when I have nothing to do and such or to chat to people on the side of working and such! That's basically it, I guess!
  17. Oh, someone could explain this one to me, because my reaction no matter how many times I've read it is just "...But.. what...?" A little girl says to her mother "Mummy, can you get pregnant from having anal sex?" and her mother replies "Of course you can, darling, how do you think conductors are born?" ....."But... what?.."
  18. I have a study, it's sort of off from the rest of the house, the most private section, anyway. At the moment it's quite tidy, when I've been working in there for a while, though it's incredibly messy. Becomes a nightmare to clean. I compose using manuscript and a pen or pencil, then once I've got my drafts done I'll type it up into Finale. I occasionally hand-write my finished pieces, but only if it's a requirement for something or if that's actually easier than using computer software for the piece.
  19. I know both of them but I'm terrible with titles. How are they not classical? Anyway, have any of you ever used this program where you hook a keyboard to a computer and play the first six notes of a melody and it tells you the piece it is? It's pretty cool..
  20. One of the orchestras I'm in recently did a piece by a local composer here that changed time signature lots and had complex time signatures and I noticed that the old people had difficulty grasping them, but all the younger people were fine. It's becoming far more common in music and since, at least with ensembles I've played with, there's always encouragement for looking at contemporary works, younger musicians are quite comfortable with reading these time signatures with ease. It think it's stupid to say people only use time signatures like 11/8 for the image and such. I mean... it gives a distinctive feel to the music. I don't think there's any issue using complex time signatures in orchestral or chamber music, and if there is, there shouldn't be.
  21. As do I. And I mean, everyone writes and learns differently, so just because trial and error may be useless to one person, it may be the best way for someone else. I was encouraged to attempt works for orchestra, I'm 17 and this was a couple of years ago. While I didn't produce anything good in my couple of attempts, it's a really good way to learn about ALL the orchestral families and how sounds blend and such all at once, instead of just learning about instruments individually that you're using in smaller scale works. And I mean... it's not just learning about the individual instruments but learning to use them when there are several of the same, as opposed to in chamber music. In regard to the original comment about needing to learn other important aspects of composition first, I'd see these attempts at orchestral works more as a way to learn WHAT you're using, as in your instrumentation, rather than ways of developing composition techniques and such. I don't see trying this sort of thing out as something negative at all, so long as you're learning from it.
  22. I'm a 'cellist and one of my favourite pieces to play is Dido's Lament. Same phrase repeated for the entire piece. Simple music isn't boring for the performer when they actually embrace the beauty they are creating. And this thread just reminds me of the whole "slow pieces aren't as difficult as fast ones" - it's a different kind of difficulty. Not just musically, but technically, too. You can't put music in boxes and say all simple music is less beautiful than complex music!
  23. I probably should have just said this in the first reply when I asked about it, haha. But anyway..! He uses saxophones in that.... Yeah... it really was worthwhile telling you that! Aren't you glad I did?!! *sighs and walks off embarrassed*
  24. Saxophones can add such a nice sound to the orchestra. But I guess lots of composers weren't looking for that in their works. Have you heard Shostakovich's Jazz Suites for Orchestra?
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