Leaderboard

First - look at the resources and funds we have on hand and then look at Facebook. Second - look at who's stating our ideals in terms of Facebook now, Tokke. Third - it's a single bloody picture that you leave the same for months on end anyways. He'll get it fixed, he assured it. Now don't bite him about it before he changes his mind.

Totally in agreement with Black Orpheus about you have a great framework. What is missing of course is the improve which may make or break the engagement you get from the listener. What may solve it is simply break up the improvs and offer a middle contrasting section with the suggestions from Black Orpheus. Also, you will NEED to have instruments cut out - the soloist will have to play at least mf to be hear thru and that can get tiring so be more varied with your textures. In sum you have a piece you can jam framework that could just use some thinning out of textures and a little more contrapuntal interest at times (nothing too intricate just some contrary motion or oblique motion again the percussion). Your rhythm and contour of the melody is great and the harmony is fine (in fact you could use a slight bit more of dissonance to my ears but it is fine. Nevertheless I stick with my first assessment - break up the improvs by having 2 in what you have, a contrasting section which as I write could really benefit from some of the overlapping call and response and resultant rhythmic patterns you get with salsa instrumental interludes and then returning with what you have with two improvs from two different instruments.

I do! I really enjoyed your melody and simple chord changes (this is great for blowing over). What were you going for in writing a C part, F, Eb, etc...? I would probably be more specific. Instruments pitched in F are rarely in a jazz combo or ensemble, but maybe you plan to use this in a piece for band or something. Now, I think it's uninteresting to constantly use all instruments in the melody and backgrounds, not to mention you always use parallel motion. Switch it up. What if you give the harmonized melody to saxes and use brass for fills? What if you have a countermelody? What if all instruments cut out during part of the solo so that you can hear the soloist better? Also, you haven't written ad lib. or used the bis (phrase repeat) symbol, which implies that you don't want deviations from what you have written, particularly in the bass, piano, and drum parts. If this piece is meant for jamming and improv, less notation may be better. You have a good start with this piece, but I want to hear more!

Do you honestly believe that? Hours count in the emergency room, not on the internet. Go to bed, and reply to me in the morning...I won't be upset if you haven't replied within an hour.

Yes, in orchestras you will pair French Horns 1 & 3 in one staff and Horns 2 & 4 in another. It's no longer "necessary" to do this, just so common that it's never really changed. The reason this used to be the case was because Horns used to be built to play in only one key. So, you would have first and third horns playing one horn for a particular key with seconds and fourths playing different horns built to play in another key. Of course, these instruments are built today to play in virtually any key with relative ease. So, it's one of those historically traditional things that professional orchestras are so used to from playing classical works, conductors just expect to see it organized this way today. We could always try to fight the good fight of progress and change this by writing horn parts differently, but some battles just aren't worth fighting, ya know?