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Found 3 results

  1. Hey everyone, this is a project I did for my Theory: Intro to Harmony class. We started with just a chord progression, then added texture and a melody. I'd love to hear any feedback, and if anyone thinks of a title, please let me know
  2. Call For Scores • KCO COMPOSITION PRIZE 2015 Reimagining the American Klezmer Jazz Band COMPOSITION PRIZE 2015 Open to composers and arrangers ages 30 and under First Prize receives $1,000, performance of work, and live recording Multiple 2nd and 3rd prize awards available Deadline: December 19, 2014 (for best consideration, December 5, 2014) For GUIDELINES, APPLICATION, and SHEET MUSIC Visit www.klezmercompany.com/education.
  3. Hi, guys. A question for trumpeters: As an arranger, I’ve heard trumpeters say that if you’re playing a flugel too loud, you’d might as well be playing a trumpet. (Even Don Sebesky, in his book The Contemporary Arranger, recommended never scoring them above mf.) Trouble is, there’s a spot in my upcoming chart where I’d really like the bugle-like sound of two Flugelhorns playing horn-like lines underneath the lead trumpet, and I’ve seen Flugelhorn parts scored forte, so here’s my question: If you came across a Flugelhorn part with lots of forte markings, would you: 1. Assume the part is badly written and disrespect the music? Or 2. Just play it forte but not necessarily “loud” like a trumpet? I just don’t want to blow out my secondary trumpeters’ lips or give them a chart they’ll disrespect. One final curiosity: -Is it harder to play Flugel loud at the very bottom of the range? I’m told there are intonation problems in the extreme low range of the Flugel, like there are in the extreme high range. How low do these problems start? Thanks.
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