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Everything posted by 920bpm

  1. I'm writing a piece for clarinet and trumpet and I'm intending to have a section where the clarinetist holds a note and sings another note through the clarinet (kind of like a drone) while the trumpeter plays around this drone in a fairly dissonant way. And then vice versa, with the trumpeter playing the multiphonic. What do I need to know about writing this kind of thing? Is this easier to do in certain parts of the instruments range than in others? Would I be able to actually have the performer hold the one sung note, but move the played note around? Is that really difficult? Is it easier to have them hold the played note, but move the sung note around? How about flutter tongueing while doing this? Is it possible at all dynamic levels? Thanks for your help!
  2. Sweet, thanks everyone. It's a really cool sound, I might use something like it in a piece...
  3. I've been looking at this Ravel piece trying to work out what the strings are doing at the start, and I'm kind of baffled by it. I understand what the 2nd violin is doing but are the others also playing harmonics? If so, why are they notated differently to the 2nd violins harmonics? If they're harmonics, how are they fingered? Thanks in advance
  4. Cool! Thanks. I'm planning to use a lot of extended techniques and such because I will probably be getting this performed
  5. Louis Andriessen has used electric guitars and bass guitars into his pieces. De Staat for example is scored for 2 sopranos, 2 mezzo-sopranos, 4 oboes, 4 horns, 4 trumpets, 3 trombones, bass trombone, 2 harps, 2 electric guitars, 4 violas, bass guitar, 2 pianos. They blend really well in that piece.
  6. So I'm about to start writing a piece for trumpet and piano. I want to look at some existing works for that instrumentation, but I don't know any. Anyolne have any recommendations? (Preferably more modern stuff) Thanks!
  7. But the fact is that the vast majority of people, including musicians, don't really LISTEN to "nothing" the way they listen to music. They don't give it the same amount of attention. And the other thing is that theres no such thing as "nothing" in sound, not even in an anechoic chamber. You can call it music or not call it music, but I don't see how anyone can disagree with those two points that he was making. Actually, I don't see why it would be performed nowadays. It's kind of a one-off deal. It relies on the audience not knowing what's happening. If you as the audience know you're about to hear "the silent piece" you're just going to tune out the everyday sounds the same as usual. It's too notorious today to have the same effect it did at the first performance.
  8. Anyone have any advice on writing a proposal for a piece? I'm applying for this: The MSO Website - Cybec 21st Century Australian Composers Program and I have to write an outline of the piece I'd write if I were selected. How in-depth do I need to get for something like this? Should I outline a structure or plan for the entire piece? I mean I could end up writing anything by September/November. I could change my mind hundreds of times
  9. Nice list. I like a lot of these composers all ready but I don't know all the pieces. gonna check them out
  10. Thanks all, my scores are looking pretty good now. :)
  11. Where is the appropriate place to put con sord. and senza sord. directions in a score? Should I put the directions at the earliest possible time the performer can change mutes (even if their next notes are 50 bars away) or at a time where the mute change won't be conspicuous or closer to the actual notes played with/without mutes or what? Hope that's not hard to read. Thanks!
  12. I've read that one too. Good book. It's subtitle is "Sex, drugs and classical music".:D
  13. I can second the "The Rest is Noise" recommendation. It's actually really gripping for a music history book, even if you're not really into 20th century music. The author, Alex Ross has a good blog too: Alex Ross: The Rest Is Noise Another good one is "Musicophilia: Tales of Music and the Brain" by neurologist Oliver Sacks. Then there's my most recent read, "Audio Culture", a collection of over 50 essays/articles/interviews/musings on the histories and philosophies of different interwaeaving strands of contemporrary music written by everyone from Edgard Varese, John Cage (of course), Steve Reich and Ornette Coleman to Brian Eno, Aphex Twin and even William S. Burroughs(!). It has an extract from that Jacques Attali book too. Not the most accessible book around, but fascinating.
  14. Rather than start a new thread, I thought I'd post in here: I am writing a piece in which a viola repeats one note for a bit, and I want each note to have a slight accent at the start of it's duration (to emphasise the attack) and to be held for most, but not all of it's duration. However, the dynamic level is p. Is marcato the direction for this, or would it imply a more sfp accent?
  15. Figured it out. "Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven's Time" Amazon.com: Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven's Time: Nicolas Slonimsky, Peter Schickele: Books
  16. I remember reading about a book which collected negative reviews from all throughout history of pieces that are now regarded as great works. I just can't remember it's name, and I may very well need to buy it as a birthday present really soon, please help!!
  17. So, I've been over at oliviermessiaen.net, reading about his "chord on the dominant", a chord made up of all the notes in aa major scale, and, just to get this straight, in the 2nd example on oliviermessiaen.net - Messiaen's Chord and Harmonic Theory is the only thing connecting the different chords(or scales if you will) the C#/Db pedal note? Or this there another process at work here?
  18. There was a bit befoere it went down, a lot of the early stuff, I remember the Rite, the Firebird, Piano-Rag Music etc. I'm not complaining though
  19. Oh man I haven't heard the original, but this is pretty amazing:
  20. Ugh, Dream Theater :sick::sick::sick:
  21. These are a couple of high cello parts in pieces I'm working on, how playable are they? If the first treble clef melody is too high, would harmonics make a decent substitute? The jump from the high Gb to the double stop at the end of the second one is impossible, am I right? I might just replace the Gb with a rest. Thanks. high cello parts.pdf
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