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920bpm

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Everything posted by 920bpm

  1. I'm writing a piece in which I've set up a texture wherein individual accented forte notes stick out of a mezzopiano texture and I've got to a bit where the individual notes are becoming multiple consecutive notes that are slurred together. However, I want to get across that they are to be played with exactly the same type of dynamic and intensity as the earlier indiviual notes, but it seems strange/wrong to put a whole lot of accents on a passage of slurred notes, as accents usually imply re-articulated attacks don't they? Any ideas? PDF attached wind trio 7.pdf
  2. oh that's a lot clearer, thanks, I'll go with "play 4x" then.
  3. I'm writing a piece which has a lot of sections which are repeated exactly and what I have are the repeat signs with a little "3x" or "4x" or whatever above them to show how many times to repeat them, but it occurred to me that perhaps they could be interpreted as "PLAY 3 times" rather than "REPEAT 3 times" (which would equal 4 complete playings). Is there a standard for this or should I just write a performance note to clarify?
  4. great, thanks! had no idea parts had their own document setup
  5. is there any way to do this? The help doesn't seem to say how. I have Sibelius 5 btw. Thanks!
  6. Hey, thanks for the advice Tokkemon. what I'm writing is a percussion duo, so it's actually quite involved for both percussionists and I want to make sure I'm not writing stuff that's impossible. I was wondering, say a percussionist is playing tam-tam with one hand and cymbal with the other (with the appropriate beater/mallet in each hand), to what extent can short rolls be played on each instrument, considering they are played single-handedly? Does that make sense? Can I write the short rolls and leave it to them to play them as best as possible? Also, are tam-tams usually only played with one beater, or two? I just realised I didn't know...
  7. oh also, is it ok to have the tam-tam played by the kind of soft mallet one might use on a cymbal, rather than the regular tam-tam beater? It would make this piece much easier to play if the percussionists didn't have to swap mallets.
  8. Cool thanks, I was also wondering, is there a standardised way of notating that the performer is to stop something from ringing out after it has been l.v.-ing for say a few bars? I notice Berio used a triangle in "Circles", but I've never seen that anywhere else
  9. is there any standardized way to notate hitting different parts of a cymbal (dome/ edge etc), apart from writing the name of the part above the note (not really practical in the context of what I'm writing)? Should I just use different noteheads and reference them inthe performance notes?
  10. Hi everyone, I have a few questions about this thing I'm trying to do in an orchestra piece, hopefully someone can help me, I was wondering, with this chord that is being sustained over the course of this page, I'm going for a really still, immobile effect, (I think of it as like an undisturbed body of water), which is why I've specified senza vib in the string instruments, would it make sense to specify that for the wind and brass as well? I thought vibrato was more of a string thing, but perhaps in this case it would make sense to apply 'senza vib' to the winds/brass as well? Also, should I specify senza vib for the D.B. harmonic or is it implied because it's a harmonic and can't be vibratoed? I know brass instruments can't do a true fade in from nothing, but what I want with those hairpins is that they fade in from as quiet as possible, should I put a footnote in explaining that, or is it implied? And lastly, is it going to be a problem with the viola and oboe joining the chord subito from the previous forte chord? I dont want them to stick out of the overall sonority at that point. Thanks! chamber orchestra piece 2.pdf
  11. ah thanks everyone, I'm writing for chamber orchestra, it has 1 of each wind and brass
  12. Ligeti Etudes are pretty amazing, definastely check them out if you haven't heard them already
  13. Alright, I have a related question, but more about layout, I'm going to have a seperate staff above the flute staff for the sung pitches (I'm thinking it will be a smaller size, like an ossia staff size?). As far as layout conventions go, because this will be the top staff on the page, does it need to be the same distance from the top of the page as the flute staff was on other pages? In other words, every page of the score needs to have a consistent distance from the top of the page (except page 1) regardless of how many staves are on it, am I correct? Hope this makes sense...
  14. ah ok, yes this makes sense. All I need really is a G# in brackets at the start of the gliss so its clear where it starts, thanks Gardener
  15. OK, I wish my scanner was working so I could scan what I've written, because it would be so much easier to explain, but it isn't. So in this piece I'm writing the flute and trumpet both play a G# in unison (the flute also singing G# while playing it), then the trumpet glisses down a quarter tone (so its inbetween G and G#, is that called G half sharp?) while the singing flute part goes up a quartter tone. The problem is since its in time/space notation and each note is followed by a horizontal line to indicate its duraton, I can't indicate a gliss between two notes that have the same letter, as they do in the trumpet part. I can't change the spelling of teh note to Ab either, because then the flute part would have the same problem. Does this make sense? I could spell the flute and trumpet notes differently, but that looks really messy when they're supposed to be the same note. What I've done so far is written "gliss" above the staff with a dotted line to show duration of the gliss (like an 8va line, kind of). Is there a better way?
  16. Oh yeah, the upper stave is just for showing the sounding pitches, it isn't ususally included in the score.
  17. Like this: the lower note is the note the first finger is fingering, the upper diamond shaped note is the harmonic node that the fourth finger is touching (but not depressing). The sounding pitch of the harmonic is generally not written.
  18. I came across this great site for flute extended techniques recently,it's one of the best I've seen because for each technique it has sound samples and describes the notation. Does anyone know of any sites for other instruments? Especially with sound samples? I know the Jay C. Easton page for woodwind extended techniques, but it doesn't reallly go as in depth as the Mats Möller one with sound samples
  19. I'm writing a piece which might be based on a harmonic series. I've never done this before, so it would be good to look at pieces that do this. Prefferably something not too hard to analyse. Thanks!
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