fauzie

Hi, I'm trying to play cadenzas for classical concertos. I meant, the real, improvised on the spot kind of cadenza. I wonder if anybody here have experience with it, and can point me to the right direction. I play the flute by the way, and already did a lot of jazz improvisation. I found it difficult to do improvisation in free rhythm without any accompaniment. I can't get it organized. Furthermore, it sounds like either Baroque or romantic music most of the time (I want to use it for Mozart's Flute Concertos). Any suggestion?

A bassoonist told me that he got some serious headache after playing for a long rehearsal. His doctor told him to scan his brain in the hospital. He did it, and it was found that the nerve connecting his left and right brain was broken. He also told me that his fellow bassoonist from his conservatory developed weird psychological behavior. Any explanation for this???

How about stamina? Can it play 30 minutes non stop? Any forbidden trill? I'm going to get a bassoonist in my orchestra and have to write something for it ASAP.

Mahler "Das Lied Von der Erde". I just listened to it. Wonderful, I love it! Vivaldi "Four seasons" is great, but I think it is TOO popular, and there is no way I can match the recorded performance that people here are used to listen on CD I wonder where can I find Cantus Arcticus Any suggestion for an organ work?

It doesn't need to. But they are available. So could you elaborate on "lots of things" ? :)

I'm planning for a concert. As environment is a major issue today, I would like to perform nature inspired compositions. I have a mixed force of mixed choir, children choir, and off course, a classical orchestra. So far I have seen Beethoven's Pastoral Symphony and John Rutter's "For The Beauty of the Earth". Any suggestion?

While there are good music from every genre, I think the main difference here is the minimum skill required to be successful. It is easy for us to mention good, high quality pop artist. I have to admit that MOST of the people featured in MTV are very good indeed. However to be successful (I mean, to gain a world-wide recognition), the standard required in pop music world is much lower than in the classical world. Can anybody name a famous but non-talented classical musician?

Well.. as long as you are using common instruments... i think it is a good idea. The important point is the skill level. With professional ensembles... it is going to be extremely expensive. But if you write something that is playable by amateurs, you can get live performance at a reasonable cost. If you combine a symphony orchestra, a jazz big band, a marching band, and a church choir, you can actually get something close to what you have in mind. String section, full blown brass section, a sax section, a large percussion section, piano, organ, harpsichord. Recorders should not be a problem, and you should be able to find a good flute and clarinet section. All of these ensembles are available in some major universities, and you don't have to pay the musicians. It is common that the university will held a concert event where each of these ensembles perform in turn. So why don't write a grand piece where all of them can perform together ?? As somebody has pointed out, concert halls generally has a real organ. You can also use a church for performance. You can fit a very large orchestra in a church. The only problem with that is you may no longer have enough room for the audience :D I would imagine that the piece should be very long, otherwise there would be no space to explore all of those different sections. Maybe some of its movements can be performed individually with smaller-scale orchestra, thus creating more opportunity for live performance. So write those small movements first to get a basic idea of orchestration. Then you can proceed to more complex movements, and finally, write the grand finale with a BIG tutti.

Yeah... i need to rework that last movement, but i'm running out of idea at this momment. (it is actually not varied at all, the all-mighty Ctrl-C and Ctrl-V). It's difficult to get variation without changing the mood. So if anybody has an idea ... Still working on the dynamics. Thanks for all the comments

Finally i'm able to finish all three movements. I posted the 1st movement before. It had been expanded and simplified (i could not play the original version :blush:) This is to commemorate an event during the WWII in my city, when the resident burned down major facilities before retreating so that the enemy forces could not use them. The main theme is taken from a pop tune about that particular event. The form used is still a standard sonata for solo piano. The MIDI The Sea of Fire.mid The score The Sea of Fire.pdf Any comment will be very helpfull :thumbsup:

Hmmm.. four hands piano? May be sometime in the future, if there is enough demand :)

I think the problem with the notation system is that music is an audio phenomenon, while the notation is visual. While it is the best that we've got so far, it is not perfect. Try to write out a jazz improvisation, and give it to a classicaly trained musician who doesn't play jazz and you will see that the notation system has its limit. A recording included with a score is the way to go. But it poses a problem for those of us who can't perform the recording. We will need somebody else to perform our composition, and to do that... we will need a notation.. and .. because the notation cannot really convey what we want, we will need a recording .... @&^$*&^!!!!!

OK, this is the first movement. I plan to write 3 or 4 mov's with the same theme, which is taken from a folk music. This is intended for intermediate students, so i don't want it too be too hard, but should be challenging and interesting enough. I really need help to improve its readability (it is full of accidentals). The Sea of Fire.sib The Sea of Fire.mid

My method of composition ... 1. Improvise until a few satisfactory themes pop up. Write them down, and keep them well. Even if you don't use them, you will need them in future compositions. 2. Plan the basic form 3. Write down a sketch on a piece of blank music paper as ideas come to my mind. It is usually very messy, with very few noteheads. I usually only write down lines (upward, downward), tempo, the mood, the instrumentation, and specific points (climax, modulation, etc) 4. At this point it would be straightforward to write the real score. So my build order is Improvise -> Find theme -> Find form