pedalpoint

Just an arrangement from Mussorgsky's original piano score (not edited by Rimsky-Korsakoff). Original key, and arranged for four bassoons. I arranged it by the request of my bassoon professor, for use in our bassoon ensemble. I aimed to pass all the parts around to each bassoon and I tried my best to give each bassoon "our" excerpt from Ravel's orchestration. I'm looking to improve(?) it by adding a line for contrabassoon.The obvious weakness to this is the lack of timbral variation. Any other input would be much appreciated. "Il vecchio castello" from Pictures at an Exhibition

Is there a way for Chinese/Japanese text to be displayed in Finale 2009? I've done a few sketches/pieces where I've had a Chinese or Japanese title in mind, but Finale won't display them. While I realize it's rather insignificant and that I can always translate those titles (and will have to if/when they are ever performed), I would rather not. In my mind, the untranslated titles usually fit the piece better; if I liked an English/other Roman script language title more, I would use it.

Hence why I'm having someone I know play it through and help me figure out...well, how to make it more playable. I see what you mean in regards to rhythmic interest and harmonic structure. I guess my lack of effort on this one is showing. I was relying on interpretation of the direction of the musical line to carry it. How can I improve on this? Thanks for the criticism, I really do appreciate it.

"Cs

This is just what it's called: a partita for a solo English horn. The five movements aren't connected by a single tonality; rather, the central idea is to display various musical styles of Europe. Three are dance forms while the other two are more song-like. Overall, I think it's challenging for the English horn player because each movement requires almost a totally different mood than the others, ranging from whimsical to mournful. My original ordering of the movements was: I. Jig and Reel II. Minuetto III. Bagatelle IV. Wiegenlied V. Cs jig and reel - english horn.pdf minuetto - english horn.pdf bagatelle - english horn.pdf kleine wiegenlied - english horn.pdf cs jig and reel - english horn.mid minuet sketch - enghorn.MID cs kleine wiegenlied - english horn.MID bagatelle - english horn.mid

Well, though it's definitely not fugal, I do like it. :) Some harmonies between the winds sound a bit strange to me, but I can't really put a finger on it without seeing a score. As for a title...well, I can't really help you there. You certainly don't have to give it a title that denotes musical form if it would make it easier.

Fran

Just a note for exporting PDFs, try Googling CutePDF. When you install that, you click "Print" and select CutePDF as your printer to export what you're working on to a PDF file. I liked your piece, thoughI don't have much to say about it. There are some places that are really empty-sounding, such as m.19, where I think the oboe could come in sooner, and m.21, where it feels like the oboe dropped out sort of abruptly. Also, are you intending to have more than one player on each part? If not, I would delete the C-sharp in the flute part in the last measure. Also, regarding the first measure and m.11, you could write the flute part with a dotted half note with a mordent instead of the way you have it written now. This looks cleaner, and it produces the same effect you were trying to get.

I admit that I hadn't considered breathing. That being said, I think there is plenty of opportunity to breathe in the first section if the eighth notes are grouped properly (the first eighth note belongs with the previous measure while the next two lead into the next measure). As for the rest of the piece, though, I think I will need to let my SO play through it to determine good places to breathe, since she is a flautist and I just play the flute, lol. It may end up being as James said, though.

I've been fixated on the cs

Awesome! Done, and done.

Winner of the June Solo Competition, for solo flute. There's no particular rhyme or reason for the Spanish title, I just felt like titling it in Spanish is all. I purposely left sparse dynamics to allow the performer to do as they please with them. Ornaments aren't terribly necessary to this piece, I think, but can be used if desired. Other than that...yeah, writing this was as "impromptu" as playing it should be. impromptu - flute.mus impromptu - flute.mid impromptu - flute.pdf

Woot! :) Thanks, musicman02.

I'm in! :) Do you want submissions in this thread, or messaged to you?

Honestly, if you think you are capable of putting forth the effort required to do both at a major level, then go for it if your school of music allows this. I am doing a double major on oboe and bassoon right now, and I know I'm not the only person in my school who has tried to double on instruments. I will third the suggestion to talk to your advisor, because these things differ wildly from place to place. One of the other people who started out as a double major on oboe and bassoon (and just graduated as an oboe major) chose to drop one major because of his other non-music major, but he continued to take bassoon lessons on a minor level. But AFAIK, he could have continued doing both if he had chosen to, i.e. our department didn't force him to choose. But again, since this is really different in different places, talk to your advisor.