Started by Rons_talking, June 04, 2017, 01:31:25 PM
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Quote from: Rons_talking on July 13, 2017, 08:43:28 PMI've completed a breezy Serenade for Clarinet, Harp and String Octet. Much of my clarinet music is harsh so I made this a tonal chamber piece. I'm trying to post some of the score and am having problems...here goes...https://soundcloud.com/ronald-roumanis/sets/summer-serenade-opus-102-for
Quote from: k a rl h e nn i ng on July 14, 2017, 04:34:39 AMWhat clarinet-plus music have you got? Asking for a friend . . .
Quote from: k a rl h e nn i ng on July 14, 2017, 06:28:57 PMSay, do you have any choir unaccompanied works?Sent from my SM-G930V using Tapatalk
Quote from: Rons_talking on July 16, 2017, 09:31:05 AMYes I do, though I'll have to do some digging. What size/ level is the choir? Text preferences?
Quote from: k a rl h e nn i ng on July 16, 2017, 11:08:38 AMI think you should send Triad a score or two for us to consider for our upcoming season. Count on four singers per section, the singers are professional, so divisi is no problem, and if you have a passage for the occasional soloist that is easy to accommodate, too. Unaccompanied, or piano accompaniment, is easiest to fold in. Though if you have something for choir and clarinet, we can do that readily, too. I wouldn't absolutely say that non-sacred text is a preference; only I know of some sacred works which are already on the slate for next season, so at present, non-sacred text may be preferred for balance.http://www.youtube.com/v/Ij0wRjmg0LY
Quote from: Rons_talking on July 17, 2017, 03:10:13 PMIn the mood for Paris, 1920s? I composed this suite with that in mind. https://soundcloud.com/ronald-roumanis/sets/from-parisienne-suiteIf the track doesn't start, click to the 0:03 area...for some reason soundcloud stalls on me occasionally. Enjoy!
Quote from: Robert101 on July 18, 2017, 04:37:28 PMI really like both wind/piano works, esp. the first. Cheerful yet bittersweet.
Quote from: k a rl h e nn i ng on July 24, 2017, 06:18:45 AMOf course, I'm jumping in at the middle with p.20, so I may be missing important cues. Some initial thoughts: At E it looks like the oboe and clarinet jar at an augmented (cl) or diminished (ob) octave, with the bassoon and flute respectively.I don't know what the previous dynamic marking was . . . is the third eighth-note at E really where the timpani should be marked piano?At the end of m.85, that quarter-note in the flute and oboe (oh, and piano) cannot be both tied over the bar, and staccato, right?m.85 cello, should the first two notes also be A-flat?m.86 fl/ob/pf, fourth quaver, E-flat?Thanks for your time, Karl. I'm sorry you spent time examining the score...I really included it as an afterthought, having just discovered how to make PDF files on finale. It goes without saying that the score is not performance ready. I'd never show it in this draft-like form given a performance situation. I appreciate the scrutiny, but I'm more interested in the broader musical context. I'm still working on getting finale to behave. If solicited for a large work I will print out the score, ink it up and edit for performance, but that's not an immediate goal of mine. I'm just enjoying the fact that in short time, I can compose and hear a decent rendering of a larger-forces work. I have more of an eye for performance with my solo and chamber works. Thanks again. [/list]
Quote from: k a rl h e nn i ng on July 26, 2017, 03:13:07 AMAnd, forgive me my brevity! I should like a look at the whole from the start (sounds like you're sorting out PDF logistics).
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