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SYS65

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Posts posted by SYS65


  1. Hey Paul,

    Very nice job you've done here, I think is as complex as it needs to be and no more, that's something good. Beginning reminds me Ives' "Central Park in the Dark" nice colors, then the faster part is exciting indeed, the mix of pizz and arco works very well, but in ritartando I would have kept using the arco and not just pizz, but your performers did it very well to decrease all the action that way, I wish I could have real instruments for my recordings, it sounds so good in real life.

    Congratulations for your award.


  2. Hi Jaap, Thank you for coming here and commenting, it will always be worthy for me.

    I am trying to take my harmony into a higher level of complexity but trying to maintain the esthetics I don't plan to abandon, but it hasn't been easy, I have found a good complexity in jazz which sounds very nice but for these kind of music I try not to use them, so now it had become like two different simultaneous harmonies, and the main difference is that the jazz one is made with 1 chord at a time, is a large chord but only 1, and in this work for the first time I'm trying to handle 2 chords at once, which one usually is an augmented one like you noticed, and the other tends to be 4ths, like C+E+G# & A#+D#+G# and I plan to add a 3rd layered chord, that could be maj7ommit5 on top of all that, so it would complete the color, all this isn't ready, nor the rhythmical texture, in this work is quite easy how they interact, I'll make it more interesting with time.

    Last chord does have an F natural, just the D was repeated in both hands, I deleted it, is like F#maj7(#5) just I didn't write 7th as E#.


  3. Hello,

    Due to the recent revival of the site, I wanted to upload something but I didn't want to reupload my old stuff so without any planning I opened sibelius and started loading the weirdest ensemble I have used, which by the way didn't like much, mostly due to the fact that I never write for chamber ensembles but orchestral ones, it was an interesting experience.

    As for the musical language I'm in a sort of transitional stage, I'm introducing some new material but still undeveloped, anyway it was a good test before starting a heavy orchestral project I'm currently planning. 


  4. There's a particular piece has a funny story, it's called "Cartoon" and suppose to be a funny piece, it is for piano, and is not hard to play, is not very complex in any form, is currently about 6 minutes of 10 I originally planed for it... anyway, I started writing it maybe in 2003 or so, and for some really unknown reason to me I haven't finished it, I write very few notes and then it takes years and again a few more notes, somehow I rapidly loose the interest on it every time I attempt to continue, but I always postpone without any rush. When I finish you won't believe it took so long for such a silly thing.

    • Like 1

  5. Imagine a little harp, with 10 strings, tuned in C major, so you only have C,D,E,F,G,A,B and nothing of Sharps/Flats, now, if you treat the note C as root of your scare, you're playing in C major, let's say you want to change the "happy" feeling for a "Sad" one, you just move your root to A and now you're in A minor... but that's all you can do ? No, if you move the root to the other notes, you get other kind of "feelings" or scales,

     

    C D E F G A B = Ionian (aka "major")

        D E F G A B C = Dorian

            E F G A B C D = Phrygian

                F G A B C D E = Lydian

                   G A B C D E F = Mixolydian

                       A B C D E F G = Aeolian (aka "minor")

                          B C D E F G A = Locrian

     

    That's how you maximize the use of you're little harp for playing different feelings in your "songs".

     

    Now, for a more modern usage, if you copy the scale structure to different roots, let's say Locrian but not beginning in B but in C, you get a scale like this: C Db Eb F Gb Ab Bb and that's still Locrian, is just "C Locrian", in case you don't know how does this actually sounds, or that it may not have a really useful aspect, listen Orff's "Trionfo di Afrodite" which is almost entirely written in this mode.

    • Like 1

  6. First, Wagner tubas are designed to be played by horn players, trombone or tuba players are just apart, they won't mess with this, on the contrary, euphonium or baritone horn are played by trombone players (maybe tuba player) so in your orchestration you decide which instruments you will lose when switching to wagner tubas.

     

    Indeed, sound is very similar to saxhorns, but I'm sure (without being a brass player) it does have an utility, since both were created by Adolph Sax and he could have just told to Wagner "hey ok why don't you use my Saxhorns for that ?" instead he built the wagner tuba as wagner requested.

     

    I'm just guessing but thinking in wagner tuba as a horn, and baritone horn as trombone, wagner tuba should be more appropriate for pp passages maybe ppp<ff dynamics without changing so much in timbre, (warm to bright).

     

    If you don't really know how to use wagner tubas and you don't really need them on your score, don't use them, I haven't.


  7. Hey, I'd like to have a perspective from the outside world about this issue... Could you be so kind to tell me if you read old (unused) clefs ? if they are taught at your school, and how important are for you. If you can include your location will help me a lot, and also any type of information like if the instrument you play is a transporter one.

     

    By "old" clefs I mean all in this picture except treble, alto, bass and tenor.

     

    clefrelative.png

    Do you think learning the ability to read in many clefs works as an intelligent and useful method to transport in real time for instruments not tuned in C ?

     

    Do you think the musicians that play transporter instruments are the only ones should study these clefs ?

     

    Thank you.


  8. One of the biggest mistakes on harmony theory was to assume that the rules that were originally conceived to vocal parts, to avoid problems related to a choir, people singing, had to be applied to every single thing can produce a sound. The SATB behavior was simply copied into strings section, keyboards and other instruments, and soon it became mandatory to any 4 part writing.

    I don't think many teachers will approve this I'm telling you, neither you will find it in books, but trying to care of every single interval as you were singing in a violin part, or piano or oboe or others is ridiculous.

     

    The doubling of the 3rd is to be avoided because this note, the 3rd, influences a lot the color of your chord, and doubling it will make a notorious overpowered 3rd, which is consider "wrong", other intervals like 5th doesn't seem to modify so much your overall balance, which you suppose to maintain equal in voices.

     

    In your example, you static chord in left hand already suggest you are not following the SATB rules, is only a piano part, since your rhythm is clearly not trying to follow the melody, (remember that if you were in choir, you also would have to care of lyrics). In a Piano part there's nothing wrong in that example, in a Choir part, the last two beats you are not only doubling 3rd but is also 8ved 3rd above your bassline, which indeed makes an ugly effect in choir, (maybe strings too). I'd say the only case where double+8ved 3rd can work (still against rules) is maybe in a 1st inversion of your chord as 8ved bassline, maybe.

     

    If you really want to write 4 voices and keep the rules, then keep reading, and continue to counterpoint, there is where you find how to move voices without breaking the rules.

    • Like 2

  9. Todays "complicated" languages are based on very mechanical/mathematical systems and techniques, which you can control without the need of your ear, even so, how it "sounds" is less and less important for modern composers. Is music based on feelings and esthetics which is more difficult to compose without hearing, but that music is dying...


  10. I'd agree with that assessment.  The two are pretty interchangeable, but if you want to get really pedantic, I think technically glissando refers to a slide between pitches where you can clearly hear all the intervening pitches (like you'd get on a piano, but you could do it vocally, or on a slide trombone too, if you wanted that effect).  Portamento refers to a slide where it's all one fluid mush between notes, no discrete steps are identifiable along the way.  An effect you can't get on a piano, but you can get on something fretted like a guitar by bending a string.  And can easily get vocally, or by sliding your finger along the fingerboard of a violin in a smooth, continuous manner.  (I think).  When someone doesn't like your use of vocal portamento, they tend to refer to it as "scooping."  No scooping!  (Sounds tacky and melodramatic if overdone, and may just be terribly inappropriate to the style of music you're performing.  For choral singers it means you sound out of tune with your neighbor for a split second if you are scooping and they aren't, so it's generally only something soloists can play with.)

     

    Hope that helps!

     

     

    I... believe is in the other way, glissando is a linear sound of increasing/decreasing pitch, it can be doable in bowed strings, trombone, and in other woodwinds depending of the range, some are possible in clarinet.

    Portamento is the playing of all notes between the written range, it can be possible in all instruments.

     

    There for, the word "gliss" shouldn't be used in piano, harp and instruments can't play a linear glissando, but this has been done so many times for so much time that now will be quite hard to fix, even so, a word "port" would be consider wrong in a piano gliss, but what can we do ? :dunno:


  11. Q. How often do you attend the symphony or any classical music events?

    A. At present, very very few times, orchestra is very bad and incomplete, conductor is very bad, they usually perform works are not of my interest. (decades ago I used to go every weekend, but the reasons were the contrary I just wrote)

     

    Q. Do you buy tickets there or buy season tickets if available ?

    A. I Buy tickets for a single concert.

     

    Q. How do you dress to go to said concert, why?

    A. How ever I'm dressed that day, nothing special, unless I have to do something with the concert, I wear a suit.

             (* once they played Mahler, I showed up with my Mahler t-shirt :P )

     

    Q. Do you park your own car or use the velvet if available?

    A. I have no car.

     

    Q. Do you buy drinks or food while at the symphony? If so what and if not why?

    A. They don't sell any kind of drink/food, nothing is offered, and I spent enough buying the ticket. (I wouldn't eat during the concert anyway)

     

    Q. Do you feel that you need to maintain a certain level of concert etiquette during the concert? AKA no clapping between movements, no talking, sounding educated about the music, etc...

    A. Sure, I do know what are they playing.

     

    Q. What attitude do you feel the people around you have? Are the friendly, smug, indifferent, etc...

    A. Most of them have no idea of what is happening.

     

    Q. Anything else you want to add?

    A. Let me be the conductor I'd raise the whole thing.

    • Like 1

  12. the sustained sound is not too long, maybe just use a reverse cymbal with some Chorus FX, and if you require to be longer, you could manually modify the waveform to make it longer with an stretch process, or try to amplify the weaker part to make it all equal for long enough to find a loop section and it would be possible to sustain forever.


  13. The last part will require fast and precise move of the lowest kettledrum, some timpani players don't like this, don't trust in the pedal that much, or have not enough skill to move the pedal that fast that precise, also little glissandos may be heard. Still, it is possible, maybe the last D-F-D-F will be annoying, unless you can reach that low F with other kettledrum

     

    These are the common ranges of the timpani set

     

    funtimp-1w.jpg

     

    I've never moved a timpani pedal myself, but for some reason some players won't like to move it while playing,

     

    Timpani-Pedal2.jpg


  14. Might work, but would all kind of exercises be in the same category ? Piano, Chamber, Orchestral, Band even rock bands ?

     

    also who would decide which one is an "exercise" and which one not ? the same guy who wrote it ? don't trust very much on the self-critic of the composer, because many would say thier work is already good, and they'll post it in the "non-exercise" category, and maaaybe probably possibly one very rare composer will post something very good but due to his humility will consider it an "exercise"..

     

    Keep talking about this and if this is indeed a necessary category I'll tell chopin.

    • Like 1

  15. I hear chords larger than 9th, mostly 11th and 13th, is like 70% Impressionism, 30% Jazz, with this I tell you is nothing like the theory you've studied, I have no time to make you a score of this but start exploring these type of chords:

     

    Cmaj7(#11) = C+E+G+B+D+F#

    C7(#11) = C+E+G+Bb+D+F#

    Cm7(11) = C+Eb+G+Bb+D+F

     

    Now move them around, this work may have been written with a key signature or not, this is beyond normal tonalities, so it makes no difference, also you do have strict degree moving, most of chords have a double degree value, from where they came, and to where they're going, no need to dig too much into this, just play those chords in all the roots you can, and add some good feeling rhythm.

     

    Note: If too confusing, keep studying you'll understand in the future :thumbsup:


  16. kontakt is working as vst so the DAW must offer other options for it, look in the top of the kontakt window or little icons, you should configure the channels, maybe is receiving all in channel 1.

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