note360

nonsensically was a bad word to use. I meant to say in a nontraditional or nonfunctional manner. However, this is not true either. Sorry, don't shoot!

Tradition separates the two. Some one who wants to write jazz will write from a jazz background relearning the basics in a new way. A jazz composer might begin to use extensions, sometimes nonsensically, where a classical composer wouldn't. However, I think much of the division has nothing to do with composers. Composers have traditionally been fairly open minded, especially in the 20th century. Many "classical" composers where and are heavily influenced by jazz (e.g. Bernstein, Milhaud, Villa-Lobos [?], Satie, Ravel, Debussy [lots of cross pollination here, but seen more plainly in Ravel and Satie], Stravinsky, Zorn, etc). Similarly many jazz composers where/are heavily influenced by 'classical' music (e.g. Mingus, Herbie Hancock, Gil Evans, Dave Brubeck, John Coltrane, Jacques Loussier). The division is in the mind of the performers and the audiences. Many performers believe that they must learn to play in one style, but this is changing (eg. Wynton Marsalis).

I use Sibelius and pen and paper. Since I have been doing lots of 12 tone music lately with electronics involved the computer plays a big part. I write on pen and paper and rough out notes and I hear the things in my head, but sometimes I use Sibelius playback to make sure everything makes sense/hear it out. I don't feel like this is a crutch in the slightest. I suck at playing the piano or I would do it there instead. My father who has been composing for the past 20+ years in various styles loves the ability to do play back. Maybe its different because we accommodate for electronics, (me experimenting for electro-acoustics and him using heavily edited electronic renditions of his pieces using high quality samples and tweaking the sound waves half to deaf [HAHA PUNS]). Maybe hes not a real composer because he uses electronics rather than real people?

Both are pretty neat. I tried playing them, but failed due to my inability to play guitar.... Either way, these are good! keep up the work!

For my NYSSMA composition/electric submission and my high school's composer's concert I wrote this piece. I have had some success with the piece, it was accepted in to my schools art and literary magazine for one. I want to know what you guys think. (its atonal) MP3 of Brahma Brahma (FINAL).pdf

I really enjoy it. Cool name too. Magnetic Soul has a real ring to it. There are, as previously stated, some abrupt changes. I would smooth these changes with transitions using previously stated material, from farther back in the piece, as to give the whole piece a greater sense of unity. Even without those changes though, I really do enjoy this.

I like it... I am getting a little jazz trio/quartet together (trumpet, guitar, trombone and possibly drums or piano depending on who we can find). If you want we can try to put this together and send you a copy. None of us are very experienced with atonal improv. but we can try. That is if you want.

I love that last measure and the bass solo. Otherwise it needs abit of tightening up, but everything does. It was a very enjoyable listen thank you for creating such music for me to listen too. :) Very nice

New edit is up now... Check it out folks. I tried to address all the issues brought to the table that I thought I had to fix. (aka most of dan's and qc's as well as taking into consideration jub's want for a more varied trumpet part)

Thank you QC, This is my first time working with vocals. Thank you for commenting. I am on it...

You have options. Quiet City by Aaron Copland (if you can get an English Horn (cor anglais)) and piano to play with you Bach's Air for trumpet (BWV 1068) - its normally played on a flugel horn Legende by Enescu Quatro Pezzi for trumpet can be extremely cool by Scelsi (ex. YouTube - Scelsi: Quatre Pieces Pour Trompette-Mvt I. | Chris Coletti) You can play all 4 together. Another common performance seems to be 1 and 2 break then 3 and 4 Now comes something that probably hits the mark exactly. Theo Charliers Du Style number 2 from his book of etudes. :) it is a great piece.

I wrote this piece for one in a collection of pieces for my girlfriend. The X's at the end are meant to be free vocals taking as long as the person wants and on any notes they wish as long as it makes sense (will be practiced and prepared before performance obviously) This is my first time writing for voice. I am still editing it. This is by no means the end product. It is meant for soprano, but I am making it a tad more universal. poem_no_1.mid poem_no_1.pdf poem_no_1.sib

very enjoyable... I have a random descant laying around the house. I was thinking about learning it, but its so high and screechy...

Think about it. In an exercise where you have to do alot of this in a short period of time why bother crossing voices. Just logically. It will cause you more problems in the future because you are rushing usually. Thats why exercises generally go the easiest way out and we learn to facilitate the easiest way out. :) It kind of sucks, but whatever.

Really enjoyed the piece. :)