Vernon

You're probably not using your material wisely. The material you have will stretch a long way granted you know how to keep it sounding interesting. Look at some of Beethovens works, he'll use the same cell often 30 to 40 times without pause. Try going in to some of your pieces and find ways that you can repeat a phrase but make it sound like it is more a continuation then an exact repeat. It's like writing in English class. You have your main statement, but then you have to flesh it out. Everything you write after that statement still somehow pertains to the topic, but in contrast to the topic. Wow, I don't know if that helped or made you more confused.

I'm sorry that I went MIA, I've been working on finishing up my Violin concerto and 3 other movements for my symphony, and Starting up an Orchestra in my Hometown! You guys are doing great so far though!

Let your mind go, that helps me. Listen to lots of music that is in the direction of what you would like to write, if you're a violist you should be half way done.

This has been happening only recently as far as I can remember... Finale 2008 won't do a mid measure clef, not matter what! I'm sure it was working fine before they asked me to update it to finale 2008a. What should I do?

I just heard the opening today, I wonder who is gonna take the first aria??? oingo will you be online today?

Those ranges are for choral singers. In opera a soprano should be able to sing a high C, and Tenor at least a high B natural. Oingo86, lets get together sometime and work on the libretto together.

so true.

I'm still mad about mid-measure clefs in 08, what happened to the little tick box?!

Yes, yes you should, it would be much appreciated. It will be great when I start learning how to sequence.

I think I'll just compose the pieces and get a friend to do all the program stuff for me. Sounds like a great partnership.

You know, you could look into Benjamin Britten Simple Symphony for strings, he does a whole movement in pizz a real eye opener.

I agree, that helps sometimes.

"Mahler was always obsessed with death as evident in his fear of writing a 9th symphony because he thought that he'd die soon after its completion." -Romanticist Somebody should have told Haydn and mozart that.... jk

I can write for orchestra fairly well. That's my favorite canvas. I'll keep looking out for anything. There really aren't any specifics, it's all up to the composer, chamber usually just refers to a smaller number of people usually without a conductor, the first chair violinist will be the one in charge.

I listened to those voices of passion, and I just about cried!!! They're beautiful.

It really all depends on what they're playing... I love Hilary Hahn's Bach work, she brings a sort of romance to it that Baroque purist despise, Kremer is amazing also for his Virtuoso feats, so Is Ilya Kaler, Christiane Edinger (Her's was the first Bach S&Ps I listened to), Michael Rabin for his beautiful recording of Wieniawski's 1st Violin concerto. Heifetz for the Bruch,Sibelius,Vieuxtemps no.5, Conus, Perlman for Beethoven,Brahms,Tchaikovsky, Sarah Chang for Paganini no.1, Hilary coming in at a close second(I liked her nice easy romantic style) and the Spohr what a lovely concerto, Midori for the Glazunov, Aaron Rosand (whom my teachers say I sound like him,) Joachim Hungarian Violin Concerto. Rachel Barton Pine for bringing back violin concertos by Joseph White, and Samuel Coleridge-Taylor. I haven't really found a Favorite for the Ernst concerto in F#, as much as I don't like his face, Vengerov for the Ysaye Sonatas, Joshua Bell for the Red Violin and any and all works of Kreisler, Ruggiero Ricci for just being alive and taking an interest in the lost Bravura Virtuoso Art, and Issac Stern for the Mozart.

String wise you could probably get away with 6,6,5 (violas tend to get alot of divisi,and the fifth player can be used (top/bottom) depending on balance),4,2

Well a chamber orchestra usually constitutes: 1 flute,2 oboe,2 Clarinet,2 Bassoon,2Horns,2 Trumpets,Possibly a Trombone, or a Tuba, if you're lucky, Timpani, strings (in a smaller number of course. you'll be lucky if you can get doubles of the woodwinds. (piano is usually included) I've been told I'm a good Orchestrator....but that's an opinion

Wow, I'm simply amazed. It sounded like everything you said it would be. I've always wanted to be able to write brilliant end credit pieces, I think it's where the composer can have his way with what he thinks the movie should have been and make the music truly come alive. It would be great to hear them singing those words. I'm looking at buying that Package as well... I just wish they made things simpler for the composer who knows little about Sound engineering and all that. Very Good.

I liked the pizzicato, sounds much better as mp3. I've only listened to the 1st movement, I feel it's too short, but pizzicato can only be appreciated so long, so it's probably for the best that it's short. I'm looking forward to the rest of this piece. I'll keep you updated! Vernon

When I listen to this my mind starts to want to go into a trance almost... atmospheric is right, it casts a sudden atmosphere... but where is it going? On the playback, I couldn't tell that was a violin sounded more like....a sustained electrical humming I guess? That's not your fault though. I'm anxious to see where it goes. Vernon

I can help with whoever wants to be in charge of libretto writing, like I don't want to be the leader, I'm better behind the man.

I seriously thought I mentioned this already but I guess I didn't. My vocal range is as follows, G3 to G5 on a good day, my tessitura would be c3 to C5 I think I'm saying this wrong... Tenor High C.

"Well I'm just a portrait, make of me what you will... Am I the love you really want, or just some silly dream? I'll tell you now, that you'll never have me, That's the point of my ever knowing smile. I spend my days smiling, and at night in my solitude laughing ha ha ha!" IDK I'm just going on a tangent.

ooh Daphne's Portrait, I have an idea!!! I have a few coloratura friends I can go to them to ask about certain vocal gesturings.