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Found 6 results

  1. This is an arrangement that I have been thinking about doing since winter of last year. No, not because the Nutcracker Suite is common as Christmas music, but rather because the Nutcracker Suite is my favorite of Tchaikovsky's 3 famous suites. Instead of starting with the March as most piano arrangements do, I decided to start with the Overture. I couldn't find many piano arrangements that included this so I decided to go from the orchestral score and arrange it myself. But I ran into a difficulty after a while. No it isn't the clarinet part and me having to transpose it. No, it is the entranc
  2. Young Composer’s Spring 2017 Competition Spring is in the air! This competition is going to be a little different than most others, and will be a based on the following scenario: A regional chamber orchestra is commissioning composers to orchestrate three spring months, specifically March, April, and May, from Pytor Ilyich Tchaikovsky’s piano work, The Seasons Op. 37a. The orchestra has the following instrumentation available: 2 Flutes (both can double piccolo) 2 Oboes (2nd oboe can double English horn) 2 Clarinets (Bb, A, Eb, bass clarinet doublings allowed)
  3. I wrote this three years ago and sort of just set it aside and forgot about it. Maybe too sentimental? I don't know. But now that people are talking about using Tchaikovsky's themes for the Autumn contest, that reminded me about it. So I looked at it again and changed a few things here and there, and I think it's not bad. The piano intro is improvised and very rubato in the beginning, and I'm sorry, but I don't have a score this time to help you out with that. But I hope you like it and I welcome your comments. It's a remembrance of summer.
  4. I wrote this for Austenite, after reviewing the introduction to his recent organ piece, but it may prove useful and/or interesting to others, too. For any aspiring conductors, this is an example of how to properly read a score (that is: reading the musical meaning or sense from it), and for composers, observing the detail of this introduction and observing how its effects are created is the best way to learn to compose your own. If anybody has anything to add, please feel free. Typically, the introduction to a serious piece of music sets up the (or a) proposition, problem, idea, &c.
  5. My symphony has a large violin solo ala Scheherazade although it wasn't necessarily an inspiration ( Stravinsky's Sleeping Princess [orchestra suite]) and Danse Macabre have that honor. Ironically as I was listening to Tchaik 4th, I realized I had his Violin Concerto in D, Op 35. This is a masterpiece!!! Anyone who wants to write for violin, please, check out this work!!!!
  6. Right, welcome to the orchestration lessons thread! First lesson on Haydn is attached. Orchestration lessons 1.pdf
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