06percussion10

g: g a b c d b c a g d: d f e g a b g a f e d I know that these arent as good but what do you think?

ok. I just slightly went over the lesson and tried the canti firmi in C... c4 e4 d4 f4 g4 a4 g4 f4 e4 d4 c4... Before I start working on the one in D i was wondering if this was right?

Ok. im at loss right now just because this is the first time i have been on since I haven't had internet access and school has started up again so i might be really slow posting my lessons back up here...In my music theory class were going by kind of slow so ill probably end up using what i write here on those assignments too...

Ok. Ill go home tonight and work on atleast one. Ill try to get two done if i can...

Where would you like to start with on counterpoint?

Here's something I just finished tonight...The next section f is in progress as of tonight and tomorrow. I'm hoping to get it up by thursday if at all possible... I don't mind going back to cover some things in counterpoint and revising my music...Whatever you think though, I'm up for trying it.

yes. Thank you.

I decided not to have the hemiolas but I was wondering if we could work on something...Im not sure as to working counterparts and a few people mentioned that counterparts were missing in my compositions... What exactly is counterpart and how does it work?

Ok i just found out that summer band begins on tuesday for me...I wasn't expecting this at all...I'm still working on teh composition; i will work harder now that I have even less time to actually work on it...

I have a question. The measure before the vibraphone solo I would like to use hemiolas but I'm not sure how it would sound together...I can hear the basics of each line in my head; what's the confusing part to me is trying to figure out if they sound well together...What do you think is the best solution to the delimma? Everything I seem to be coming up with seems really force and not the way I want it to end up sounding like...I think I'm going to take tomorrow off just to relax and not think trying to see if I can have more flowy ideas...I will hopefully post the bridge and the solo either thursday or friday...

I was thinking about the piece as what someone else might describe it as and its almost like a sugar rush...it starts off really detailed and intricate and then hits a low exhausting period and then finally it mellows out. The marimba part was the hyper "high" of a sugar rush. The next section that I'm going to write tonight is the sporadic period between the "high" and the "low." I also thought about mallet selections that would bring out the lines maybe more. Bells=brass or a hard plastic mallet Marimba=hard mallet through the solo and then switches to a medium-hard mallet throughout the vibraphone solo, then switches again to soft mallets for the bell solo. Vibraphone=soft cord mallet

Here is the marimba solo. I'm hoping to get the next section between this solo and the vibraphone solo done today. I was also thinking about varying the meter from 3/4 to 5/4 and back and forth. Do you think that would be a smart decision for the sorrowful portion?

Ok. The marimba solo which should be posted tomorrow is set at tempo 180 for quarter notes. By keeping the rhythms simple I figured that contrasting the tempos would be a well designed intro for the happy and energetic phrase. I'm also trying to incorporate a larger range on the marimba for this section.

I wrote it entirely from inside my head. For me its easier to hear instruments in the same range rather than separate voicings. The other option that I thought would be possible would be to take the first marimba out and play it on bells instead so it sounds an octave higher... I'm thrilled to hear that you think I'm off to a good start because I wasn't so sure about it...

In regards to learning to transpose yes, learning transposition to other keys is what I meant. I mainly write for c-pitched instruments right now besides trumpets and clarinets. Anything learning transpositions would be beneficial I believer... It was written for nothing but three keyboard instruments, no assistance whatsoever.The clefs were supposed to be all treble...assumption correct...That was intended for some unity besides the timbre of the instruments. Thematically, I was planning on writing the solos all in different tempos showing some excitement, to sorrow, to acceptance. The first solo for marimba II was planning on being the faster, energizing and exciting part. Vibes were sorrow; marimba I acceptance...Structurally, right now its more tonal than anything...but for the sorrow, I would like to learn more atonal techniques and for acceptance do more resolving chords in the background with vibes... I want to keep rhythms simple showing the musician's technique and basic understanding for the piece...I'm hoping to play this for a concert sometime this year...I was hoping tomorrow or the day after that I could post the vibe solo if I work carefully. The next few days im going to try to finish the solos that way you can have more ideas on what I want the piece to feel like in the different sections... Unless you think there is enough work here for now, I can work on trying to edit this to sound better...