BGal510

This is my arrangement of Sweet Caroline for pep band. I'm actually not sure why I'm posting this. It's just what I've been working on recently and I'm really happy with the way it came out.... Well, enjoy!Notes:This is meant to be easily playable and simple.The singing and clapping section is meant to sound like clapping, but finale doesn't let you make custom sounds for a note, so it just sounds like annoying chords. Sweet Caroline (Pep Band Band Arrangement)

This is what I have so far after working on it for a few days. This starts somewhere in the middle of the entire piece that I intend to write, but I wrote from this point because its what I thought of first. The first variation(s) was more of an experiment with Dominant 7th chords. It has a very dark sound, but it turns into a romping stride piano part. This part is extremely difficult and I would like if a piano player could tell me if it's even playable. The second variation is probably going to get placed before the first variation when I have my finished product. This one is in a minor key and has a music box sound. This was written for this challenge: http://forum.youngcomposers.com/t25334/yc-variations-on-mary-had-a-little-lamb/page__hl__mary Variations on Mary Had a Little Lamb

There's also an option under Utilities called Implode Music which does what you're asking.

Sanctum: Old: http://forum.youngcomposers.com/t21841/sanctum-a-jazz-sextet-for-6-horns/ New: http://forum.youngcomposers.com/t22586/-sanctum---a-jazz-sextet-for-6-horns-/

I suppose I was a little too subtle with my horribleness.. There's a lot of things in there that are just things composers do that are pet peeves of mine. I would list them, but I feel like that would ruin the whole purpose of the competition.

My submission for the terrible music competition. A Day in Pirate Town

Do you watch Dexter? This sounds very much like the theme from Dexter. With a blues scale piano solo. It was interesting. Very simple. I can't say I liked it. If you want to delve into the realm of jazz I suggest finding literature on the plethora of scales and tonalities you can incorporate in your solos. Also the piano solo was way too busy especially in contrast to the melody. Just take it easy - atleast in the beginning of the solo then build up to more rhythmically complex stuff.

Well I was the only one being antagonistic and for that I apologize, but I was just getting a little frustrated about how even after Doovongeman's question was answered, people still kept reiterating what had already been said in their own words, without actually contributing any new information. I guess I just exploded on you. I reread what you said and it is knowledgeable, but what made me say what I said is that there were a few minor errors in it. For instance, you said 3:1 ratio when you were referring to triplets and 4:1 when your were referring to a dotted eigth-sixteeneth. Trivial math error, I know, but this next thing is what really made me lash out. You said for a more contemporary sound try the dotted eigth-sixteeneth sound. This is quite the opposite. You will find that not only has swing evolved to be more asymmetric, but that this variation of subdivision in swing is mostly judged by the tempo of the piece. The faster, the straighter. Let me say though, this is all variable of the composer's (or most often times' director's) opinion, which you addressed in your statement. So, again, you were knowledgeable. I'm sorry for saying you don't know what you're talking about. On another note, I mostly agree with bryla on this one. Adding accents will greatly improve the sound. And look. I got sucked into this unnecessary debate about swing.. :(

Antitonality, I'm gonna hold myself back here and not dissect everything you just said to show you just how wrong your statement is, but let me just say this: Don't lecture people on something you don't truly too much about yourself.

In my opinion swing should never be approximated to the point of 3:1 ratio.... waay too square. It should never even go past a 2:1

I don't fully understand why your teacher is so hell bent on you writing it out as it sounds, but if I were you, I would just write it like one of these examples: http://img.photobucket.com/albums/v122/internut45/Screenshot2009-12-12at24026PM.png But I think it would be much easier to read and write to either take one the examples I gave you and make it into double time or just put an indication like the one in this piece of music: http://www.freehandmusic.com/search.aspx?all=&artistid=62051&prodid=308723 Hope this helps.

First off, thanks for listening. I "avoided" a rhythm section simply because I wanted to. I wanted to write a chamber style jazz piece. The bari sax was the primary source of rhythm in the piece and the backing horns set up the chords well. So why add a bass, which would essentially double the role the bari; or a piano/guitar, which would mess up the voicings I carefully orchestrated? And I don't know. Drums might enhance the group, but it would sound strange to just have a drum set and 6 horns. Oh and I've heard of the Rova Quartet before. Not really my style.

Anthony: Thanks a lot man. I try to put melody first and chords second. Robin: First off, thanks for listening. I love hearing from experienced jazz players/writers. I actually felt quite comfortable with this ensemble even with its lack of rhythm section. I think I'm going to continue writing for similar types of ensembles. And the voicings are original to me as far as I know. I just establish the chord with strong chord notes at the bottom and then stack color notes in fourths on top.* Which is why I like this ensemble because it lets me include all these color notes. But I go back and forth from that to closed voicings so they don't all sound the same. *i.e. 9 13 3 7 5 R And as far as listening goes, I have never heard Evans' music, but it sounds like I certainly should give a listen. I don't listen to nearly as much jazz as I should, but Here's what's on my favorite jazz playlist: Art Blakey, Arturo Sandoval, Maynard Ferguson, Bill Chase, Mingus, Mangione, Ellington, several songs from the Kendor Jazz Collection, Brubeck, Gillespie, Miller, Gordon Goodwin, Lee Morgan. And that's about it.. Again, not nearly as much as it should be. And you can see the trumpet player trend there haha.

Thanks! And when I originally picked the instrumentation in finale I guess I had different intentions, but then the trombones just became more of a way to round out the chords.

Hey everyone. This is my latest composition. I really like the way this one came out. It's a little sextet for trumpet, alto sax, tenor sax, 2 trombones and bari sax (voiced in that order). I really worked hard on the head, but the solo section to the end was a bit rushed. Some suggestions to make that more interesting would be greatly appreciated. Also, I didn't write any solos in and I don't plan to. Try not to comment on something that would be at the fault of the mp3 file. (i.e. backgrounds engulfing the melody) The changes are based mainly on a circle fifths motion, so I guess I need to work on making more creative changes. Well, enjoy. Sanctum - A Jazz Sextet for 6 Horns