millyway

Music for the 15th aniversary of an important NGO (Non Govermental Organization) in my country. The video is just a sketch, up your volume is not normalized! Link: Comments are welcome!

Thanks for your review John!

Great! Ive been looking for this kind of study group, Im in second year university and as Apple Charly right now Im studying barroque and classical period harmony. However, Ive read some advanced books that I have to re - study again to completely understand. We can use our own blog, skype, chat and also create our own blog.

Hi John. Here is the MIDI thanks for listenning! 4th8.mid

Hello, Im posting here a movement of an unfinisehd symphony. I lost interest on this, so i post it to not keep it just for me an eternity in my hard drive. Maybe with your comments I could learn a lot. So coomments are welcome. Thanks! P.D Im just uploading the Finale 2008 version. 4th8.MUS

I think you are refering to flautando, if you specify sul ponticello will sound a lot more brilliant and I dont know if this is the effect you are looking for, however sul punticello and flautando could work. As you are asking, id write flautando and this will be suficy.

Hello! Im very interested to learn about historical style performance. There is many musical elements that varies depending of the musical period. I would like to know mainly characteristics of barroque, classical and romantic periods, and how to perform the notes and articulations acording the period. I hope being clear. Also i would like a good book recomendation where iIcan learn about this. Thanks in advance!

Im sorry i dont know where to post this...but i would like an explanation about this: Remember that you can use PARTS of all your orchestral choirs to create a sense of

When doing these excersices i came up with a couple of questions. Most important is this issue: When I have an FF dyanmic i require to have the orchestration close togeter as much as i can, this implies doubling and doubling of active tones like the sensible (idk how this is in english), in the case i have an FF over a dominant chord for example. Is this ok??? I dont know if im posting in the correct forum, but to give continuity to this lesson, also i already sent my excercise No. 4 a couple of replys up.:whistling:

Ok, thanks for the advice. I remove one of the bassons and also im sending my excercise 4. Ex3chord(3).pdf EX4WW.pdf

oooppss....sorry for the piccolo i wont forget it. I think this attempt is much better, i can feel more union between instruments. What about basson 1 doubling in unison contrabasson? Ex3chord(3).pdf

Sorry, i didnt know contrabasson transpose an 8va lower. I've corrected this and also add a F dynamic. Im taking as a guide the harmonic's scale, doing larger gaps in the bass part, closer in the upper part. I would like to know if this is ok. Whata bout the clarinet in this attempt? Too far?? thanks! Ex3chord(2).pdf

Thanks a lot for these lessons! Im sending here my first 3 exercises, I have a few notes: Ex2: Doublings I used oboe + clarinet one octave doubling, but this produces kind of a comic effect which I don Strong Registers.pdf Weak Registers.pdf Ex2WW(1).pdf Ex2WW(2).pdf Ex3chord.pdf

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nice ideas, specially that of practice with a book...what kinds of excercise for eye'finger coordinations? Thanks a lot!