AMDG

Hey Everyone: Just one word -- Poulenc Sincerely, Brian

Well, it's certainly ambitious! I see that MF has directed you towards the proper arrangement for score layout. This really is important because if you want people to be able to read what you have written, you need to have things ordered in the right way. Just examine the scores of concerti for reference. Now about the music. I'll leave detailed analysis to the experts, but I would like to add one thing. When you write a concerto -- for any instrument or group of instruments -- you need to always keep in mind that you are writing something that contrasts the single voice against the group. In other words, you have to decide how you want these two groups of sound to interact with one another. Obviously, the solo gets a lot of preferential treatment, but you should weave it in and out of the material for the larger mass. How do you want to set the solo voice apart from the orchestra? How do you make that solo voice as dramatic as you can with the material you are writing? These are questions you need to ask yourself. Think of it maybe in terms of a plain song -- voice and piano. Do you want people to be paying attention to the voice and lyrics or the interesting stuff going on around it? How and when do you want the focus to shift? Well, keep at it. We all start off with some pretty far-reaching goals. Sincerely, Brian

Well, this certainly won't calm any of the waters so far -- judging by the nasty goings on in the shoutbox at the moment. But I do have a couple of things to add here. I watched the video the other day and I must say that my take on it is far different from most of what has been posted. The main point that I got from Mr. Zacharias' answer is that the artist is undeniably free to create as he is moved to create; however, our response to that act of creation is what he is talking about in terms of moral worldview. I am a Catholic -- the AMDG is a giveaway -- and that causes me to go down a certain path in life. It gives me the foundation on which I can base my judgments about things. And that includes artistic expression. And I will say right now that this is my choice. Certainly others have made different choices about their own beliefs. We are creatures of Free Will, and we accept or reject religion as our consciences inform us. Me, I have chosen to accept Catholicism. This belief leads me to understand the nature of Man in a very specific way that has to do with the inherent goodness of his soul while at the same time acknowledging the concupiscence which accompanied the fall from grace through Adam. Ok, you're either with me at this point, or you're going "Phew!!!" Getting back to the video, Mr. Zacharias seems to be saying not that you have to have a moral worldview to create art, but for Christians our response to the created work relies on our ability to make prudential judgments based on what we hold creation to be -- good and beautiful. It's probably easier to make these about literature, movies, and art, rather than music, but there are sometimes when we can do this. Why was Wagner's music not played in Israel until only recently? Why, for that matter, do some people associate Wagner's music with Naziism? I can't remember the tenor off hand -- Jon Vickers, I think -- who refused to sing the role of Tannhauser because he thought it to be immoral. Do all these things have to do with the artist's spark of creation or are they the judgments of others on whether or not to accept the art as good. I would suggest the latter, certainly. And again, this I think is the point of the video. Don't confuse the exercise of one's Free Will to create something with the response of others to the work. This I think is probably the greatest sin of our age -- Pride. The notion that because I created this thing, it is therefore good -- not merely technically or aesthetically good, but good in a metaphysical or trancendant sense. Ok, let's wrap this up now. You all have probably had enough by now. Feel free to start turning the guns in my direction. Sincerely, Brian Sagraves

Dear Mr. Woodruff: First let me say that I have enjoyed listening to practically everything you've contributed to this forum lately. OK, maybe one or two weren't to my liking, but overall your batting average is quite high with me. These two pieces for a Christmas Mass are no exception. I like them both very much. I think I might quibble a bit on your interpretation of the meaning of the Gloria, but in the end it's your line of thought and feeling for your composition. My big question though for you is why the transposition of the text in the Gloria. Gloria in excelsis Deo is to be followed by et in terra pax hominibus bonae voluntatis. Not Laudamus te.... Why make the change that you did? Just curious, that's all. And I'll second Ron's thoughts on the appropriateness of styles. Sincerely, Brian Sagraves

Dear Tyler and Ron: Thanks for taking the time to listen. I appreciate it very much. And I'm glad you liked the music overall. You know, as traditional as it may seem, this is something I never would have thought to write until only recently. It's much more daring harmonically than I was used to, believe it or not! Tyler, I think your criticism is certainly fair, and I understand your point about the music perhaps not always illuminating what is going on in the film. This was a fun challenge to try, and I may revisit it sometime to see if I can do better. Thanks again for taking time to listen. Ron, I've been around for awhile. Actually I've been learning quite a bit from you all here! And I'll chime in from time to time, too! (Thanks for the invitation) Sincerely, Brian

Hey, Everyone: I'm not sure if I have the right category for this, but it seemed to make sense to me anyway. Awhile back there was a competition sponsored by Filmusik (in Oregon) to compose music for a short clip from the movie Gamera vs. Guiron. I had always wanted to try out the Movie Window in Finale and thought this might be an interesting place to start! So I did. Here's the link to the competition site that includes the 4 entries which were submitted. Mine is the first -- under my name, Brian Sagraves. Filmusik Monster Music Contest I went with a fairly traditional symphonic type score for this. The other entries are a mix of different styles, all very interesting. Although I only had less than 2 minutes to work with, I tried to develop some themes that could otherwise be worked throughout the movie perhaps. So if you're interested, please visit the site and see what I came up with. I hope you enjoy all the entries, by the way. Let me know what you think. Thanks. Brian Sagraves

Hey, Everyone: A couple of points here, if I may. First, to correct a misconception -- we Catholics do not adore Mary. We hold her in the highest regard as the Mother of God. Adoration is for God alone. It's a common misconception, by the way. Second, the Tridentine Mass that uses Latin for most of the Liturgy is most certainly not post Vatican II. It is the Mass that was used before the movement in the 60's and 70's toward Masses in the vernacular. Up until recently, a parish could celebrate a Tridentine Mass only with the local Bishop's approval -- approval I might add that was very rarely given. Now, a parish may celebrate the Tridentine Mass if it has a priest who thoroughly knows how to do it, and right now there aren't that many priests familiar enough with the intricate rituals the Mass requires. (This however is changing a bit) Now because of this trend over the past 40 years toward Masses in the vernacular, I doubt that you will find an average parish willing to use a sung Mass in Latin. Your best bet will be in urban centers or parishes around universities which benefit from a congregation with strong music backgrounds. I'm just saying that your average congregation will shy away from anything that keeps them in church for more than about 50 minutes. You start singing a Credo in Latin and you will have everyone bolting for the doors before the Eucharist! And the poor priest will certainly get an earful!! So here's my advice -- which you can take or leave. By all means explore the transcendent richness of the public prayer of the Church -- the Mass. I myself keep being drawn to write something; but the bigger, more complex approaches I come up with I refer to as meditations on the Kyrie, Gloria, etc. That way I can focus on the music in a way that releases me from the practical limitations of a Mass that would be used in a parish setting. If you choose to try something for actual use in a parish, you might consider something simple for average voices and piano accompaniment. And here, please remember that the music during the Mass is not meant to be a theatrical experience. These are the public prayers of the Church and are to be recited -- or sung -- by everyone. Not just the choir. Otherwise, we remove ourselves from the participation in the sacramental miracle which takes place when Mass is celebrated. OK. I think I've given enough stuff here. Best of luck with this project. It should be a very, very rewarding experience for you. Sincerely, Brian Sagraves

I wanted to add that if you're using Finale -- which I have, by the way -- use the Setup Wizard. That will put everything in order for you. Hope that helps, too. Brian

Hi, Jonah: This is an ok start for quite an ambitious project. I'll bet that by the time you get to piece #16, you'll look at this one and understand some of the comments others are making. I think the musical ideas are worth pursuing more, but you do need to learn how a large ensemble fits and plays together. All of us need to learn that. The first thing is to learn that scores are produced with a certain order of instruments so that anyone looking at them can easily understand the music. The string section belongs at the bottom of the orchestral score with harp and percussion above it. That's basic. I don't think you'll find many conductors who take the time to ask for customized scores from each composer. The next thing is to learn the real ranges and capabilities of each instument. Otherwise you'll be asking players to do things they are physically incapable of doing. Again, all this is part of the learning process every composer encounters. It's actually quite a lot of fun discovering what can be done with music. So take the criticism to heart, and keep discovering. Brian Sagraves

Hi, James: I really enjoyed listening to this. It has a great out-of-this-world action/adventure feel to it. Pretty not too bad for only a couple days' work. It does remind me of the sci-fi tv shows from the 80's -- if that is what you were going for. It works, in my opinion. Now get busy and write some more stuff! Sincerely, Brian Sagraves

Simply stunning. A true meditation on the Psalms. And it appears that we indeed have had a glimpse into the eternal. Well done. Sincerely, Brian Sagraves

To Kill a Mockingbird, eh? I think the flute would work wonderfully here. I can't help but think of Elmer Bernstein's score for the movie. Very simple but haunting and effective. Since the novel deals with the loss of the innocence of youth I imagine a flute quite capable of capturing this. There are themes of dignity and justice which I think would be well served by an expressive -- not necessarily flashy -- solo piece. I would say take your time in laying out a couple of good themes and let the underlying harmonies poke their heads out. Actually, that part of the composition could hint at the mysterious character of Boo Radley! Ok, I hope I've been able to help a little. The suggestions to look at Bach are quite good. Sincerely, Brian Sagraves