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Topic: Brass Experiment

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  1. #11
    Senior Member Tom_Davis's Avatar
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    Aug 2005
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    Re: Brass Experiment

    Quote Originally Posted by fastlane View Post
    Tom,

    I think the choral version maybe worked better than the brass with better separation, partly by using the more distinctive sounds of the human voice.

    Maybe a balanced choral and brass arrangement would be interesting. As an old horn player I still like the first version. So keep the horn! Ha,ha.

    Phil
    Thank you for the input, Phil. When I write for choir I usually end up with organ or full orchestra. Well, okay, sometimes both. As for the horn, you have to really dig to find one of my works that does not include the horn. And if strings are included, you'll need a pretty good cello player.

    For the next few weeks I must put this little experiment aside. A local church called me this evening requesting an Introit and Processional for Easter (April 1) for SATB choir, two trumpets, tympani, hand chimes and organ. They would like to have an initial copy to begin rehearsal on March 20th.

    (giggling hysterically) Sure. No pressure there.

  2. #12

    Re: Brass Experiment

    Thanks Tom:

    That made a lot of sense.. I do a bit of that, but not being real conscious I was, it just felt right, so I pursued it.
    You have stated some processes, that I will purposely work at.. THANK you for the insight.

    The good thing about using 'musical tools', (not strict adherence to musical rules as my music teacher would say), is that
    you as composer, decide which tool to use, (or not) and switch to another tool.

    I like the process you described when you work.. I indeed have found times, when I felt it was important for me NOT to influence what was going to happen, rather sit back and observe what my fingers wanted to do, seemingly by themselves.

  3. #13

    Re: Brass Experiment

    Hi Tom,

    I like the way you say: "It comes from the music itself"... You know that it isn't really the case, but the underlying idea is clear. While composing, there is always an interaction between the creation and the creator. You could call it musical induction or self-induction. One idea induces the other as if they were or have always been connected to each other. I can't speak for you, but in my case, sometimes a sound is enough to induce a whole melody, to release a set of phrases into a complete composition. That is what happens when I'm improvising. A simple chord or some chord progression can start a two hours improvisation... Unfortunately, most of it vanishes afterwards into oblivion. But from time to time, something remains in my mind and emerges unexpectedly in a total new context. Do you recognise this sensation?

    Jos
    Jos Wylin

    http://www.joswyl.be compositions and sampling practices

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