manossg

Hi, Daniel, very enjoyable piece, loved the 5/4, the adventurous harmony, and the "flowing" contrasting middle section. Also, very beautiful score! It made one WANT to read it. But why not indicate phrasing? M.14, what kind of diminuendo do you want? Let's listen to a live version, shall we?

Takemitsu had composed a lot of music not related to the japanese tradition, even in his film music. Unfortunately, he is not as recognised as he should be. Anyway, thanks for sharing.

James H., I guess I'll try putting my hands on a B&H fingering chart! Unfortunately, in the place where I live, there are NO woodwind repair shops. The nearest one I know is 500 kms away...and I have to take a boat as well to go there! :blush: If I had one nearby, I would already be there! Flint, I've already found (and tried) that one out...no luck! Considering I don't have any woodwind experience (just a little bit of flute), could it be a reed/embouchure problem? The problem is consistent for all the notes I approach.

I got it off ebay. But I'm positive it's an oboe...

Hey, that's what I have found out as well, trying to find a solution to my problem. But this is not the answer. I am talking about the C in the middle of the staff. I have found that, to produce that C, I can use the fingering for D (Thumb oXX-XXX). Generally, these fingerings work as if it were in a Bb transposition. Are there transposing oboes (not cor anglais)? I have also figured out how to produce "written" C, by lifting all fingers and releasing the thumb and using a little side key of the left hand!!!?! Help, I'm getting even more confused!

That is indeed beautiful, thanks for sharing.

Hey, guys, it's been a while! Hope you've all been doing good! I want your help! I decided that I want to fiddle around a little bit with the oboe. So I got a Boosey and Hawkes regent oboe and some soft reeds and I started honking. Problem is, this oboe seems to be a thumbplate model. But the thumbplate fingering charts I've studied thus far correspond to different notes. For example, I see that g is Thumb - XXX But for my oboe, g is Thumb - XXO Also, I can't figure out how to produce a C. I saw "Taking off the thumb and XOO", but that doesn't do it. I also don't have any oboists where I'm living in (not even a single person), so...help me!!! :w00t: Is there another fingering chart for this model? Should I take it to a repairsperson (=it's broken)? Is there probably something wrong with my embouchure that causes the difficulties with producing the correct tone (apart from the things wrong with my embouchure that make my oboe sound like a horny duck suffering from lead poisoning)? :sadtears:

You forgot to include Nikolas! :P

Do you understand the difference between rendering and notating a musical work?

If you use these instruments, it's not a string quartet, but a piano quartet. 2. The only transposing string is the double bass, which sounds an octave lower than what is written on the score. 3. You would use the treble clef to avoid ledger lines when using the upper tessitura of the viola. Otherwise, use the alto clef (not to mention that it's more beautiful). :)

1. Get a teacher. 2. Read a book on theory/counterpoint/orchestration/form. Learn, learn, learn. 3. Analyze music that you like. Find out what makes it that way. 4. Go get a secondary musical instrument and start learning it. 5. Get a teacher. Oh, I've already written that.

You can leave it in C (you lazy person, you) and hope that the trumpet (or anything) player will be friendly enough to sight-transpose. Or you can do the right (and wise) thing and do as flint says and start thinking (and writing) in transposed pitch.

Sorry for the delay, but I don't have much time to hang around. Science is born from the fact that concrete methods of conducting it exist. If you try to publish your research in a scientific journal, it has to fulfill some requirements, even if your're the brightest mind in the neighbourhood. Hearth wisdom is born from somebody finding (or believing) that something works (even though the reason behind the improvement may be a random variable) and the deduction that if something works now, it will work tomorrow as well. It's the same with music. Some guy picks up a guitar (or whatever), plays something that sounds good (to him) and that's it. Positive reinforcement sometimes creates horrid results. As far as the 'cultural differentiations' are concerned, there's a definite limit to what you can do with traditional music. You've listened to a couple of things, you've listened to them all. 'Rumination' is the keyword. I cooperate routinely with professional musicians. I don't have the time to sit with them and sing the tune for a few hours, until they are ready to go record. I gotta give them the sheet music and I want them ready for the studio afterwards, spending time on interpretation issues instead. Using the suit metaphor, the suit is not an indicator, but at least the presence of clothes is.

Do you consider medicine (for example) and hearth wisdom to be one and the same?

Hey, Ryan! I liked this one, but I was expecting the usual treat. PM me about the cd, I wanna learn more. :)