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Plz help!

I just started playing alto sax last week for a summer program and I think all in all it’s an easy instrument to start off on (maybe because I have been playing clarinet for 3 years). But I am still struggling with holding it. It’s very heavy and sometimes my thumb is swollen from holding it. My friend who has been playing alto sax for 4 years says my sax is bigger than hers. I’m sure its alto because my music teacher gave it to me and I can’t switch it out for a different one. Does anyone have any tips on how to hold the sax? Thxxx and I appreciate it- Flutinetist ^~^

ARRANGEMENT for last concert

hey, so me and my friends want to put together something for our last ever concert but need some help. it needs to be based on film as that's the concert theme but we don't want to do something boring or typical. 

parts needed:
flute
Bb clarinet
trombone
piano
(possibly guitar if possible but we can make something work otherwise)

any help would be much appreciated as the concert is in 10 days!! thank you :)

Revolution 2?

So hear me out

Last summer was a golden age in RSA's history. Bountiful Poetry, Art, and Music was created during this peaceful period. It was beautiful, it really was, and I feel that it tragically came to an end during the first few school months. Then the Dark Age came: nothing much happened, "Musix Fox" was the biggest controversy, and everyone said they were waiting for something interesting. So, I wished it would become a Second Golden Age this summer. So here I am, watching RSA become pretty much a spam/crappost (gotta keep it PG) server, almost as content-less as the Discord Server.
For real though, we used to have about 5 or so discussions per day at most, with only like 2 being heavily commented on. It wasn't nearly as active, but it was usually people talking and communicating about their lives, or making jokes, or whatever i dont remember. Now I feel a whole bunch of peeps in this group are making silly little discussions of "lyric games" or whatever. Well, I say we have cool stuff once again.
So what do we do? Well, of course, we are gonna overthrow Rebecca Y. and implement a new communist regime with Rebecca Y. at its center. To do this, however, we will need to have a REVOLUTION 2: ELECTRIC BOOGALOO.
so who's on the train?

Idk

Looks like I’m getting another violin by my dads friends aunt, I heard it’s 200 year old, Italian hand crafted, jubebee wood violin. It’s worth 500,000 dollars and I heard it’s beautifu. Idk what I’m gonna do with this violin, this is gonna be the third one I’m keeping in my house and now I have the get better security systems and insurance and a better case which idk how I’m gonna afford it when I’m the poorest person in my town. Anyone have any suggestions on security systems, rousin, strings, bows (hopefully a baroque style bow) cases and more care things for this expensive violin. The stuff I use in my violin is pretty good but it’s more of beginner to intermediate low violins, I use dominant strings, d’addrio premium rousin, factor cases for all violins, factory bows for all violins.

Any suggestions for this new 500,000 dollar violin will be GREATLYYYYYY appreciation

Are Fugues really easier to write than canons?

I have written full canons before and I have attempted writing fugues. But every attempt at writing fugues, at least 4 voice fugues leads to parallel octaves because I'm like:

Okay, I have reached an octave, now what? Going down to a 7th won't work  because that will lead me back to the same octave. Going to a 9th also won't work unless it is between the tenor and the alto because I can't play a 10th interval with a single hand so if the 9th is between the tenor and the bass or between the alto and the soprano, my only choices are either to go back down to an octave or to leap. Going back to an octave seems like the better option because I conserve leaps, but it just delays the resolution of the octave. Contrary motion to a 6th might work, but what if that doesn't fit with the harmony? Only other solution I can think of that doesn't break the parallel octaves rule is a leap in 1 or both voices involved in the octave. And in general I want to use as few leaps as possible outside of maybe a subject entry, and if I have to use a leap, I would prefer a third over a sixth. 


And I end up not finishing the fugue

Now I've been told that the distribution of 4 voices in a keyboard fugue is generally that the bass voice is alone in the left hand and that the other voices are generally in the right hand. But, it seems to me, that having 2 voices per hand just feels more balanced. I have also been told by a few people that fugues are easier to write than canons. Now this seems very counterintuitive to me. In a canon, you have the same melody, just delayed by a certain amount in each line. Sometimes this has a ground bass below it. I won't give an example from Pachelbel because you all know it. Instead, here is a 4 voice canon by Mozart played by a string quartet:

 

As you can see, every voice is playing the same exact melody until the cadential section is reached.

In contrast, fugues seem in all ways more complicated than canons. If I had to describe it as a cross between 2 forms, I would say that it is a cross between the canon and Sonata form. It has the main melody in multiple voices, just like a canon. And sometimes there are 1 or more countermelodies that also appear in multiple voices. There is also motivic development which is similar to what you find in Sonata form. 1 thing that differs the fugue from both canons and Sonata form is that the voices are like completely independent even if you don't take time into consideration. Time is what makes the lines of a canon independent. Fugues have lines that are independent through melodic shape alone. Sonatas rely on the relationship between melody and bass. No such relationship in fugues. In that sense, sonatas are closer to a ground bass canon.

And like I said before, I have never written a complete fugue, just a few complete canons. Even something like Fugue in C minor WTC I seems easy for a fugue but hard for counterpoint in general and especially compared to canons. Here is the fugue I'm mentioning and this video uses color to show the 3 independent voices:



So are fugues really easier to write than canons if they are almost like a cross between the canon and the sonata? If canons are hard, then wouldn't fugues be even harder? 

Listen to me practice! (update day 6)

So @TheLight OI had asked me to try performing one of his scores (It's beautiful by the way, check it out!)  
https://musescore.com/thelightoi/arabesque-no-1 

I am in serious need of constant reminder to get practicing, so what I thought of doing is making a discussion so people could listen to my progress on the song. I will practice that day and record what I went through (just once). 

Feel free to bash my mistakes XD

PS. No day 1 because I was focused on changing the notation so it's easier to read and sight read through it like once. 

Day 2 (Total: 1 hr): https://drive.google.com/file/d/1bnxo0qbIRiJKwpLiWm3Wn8-okoV8Wrnw/view?usp=sharing  (~9:00)

Day 3 (Total: 1.5 hr): https://drive.google.com/file/d/1gKmp5p0Afj8A0llKKGLYVsZdlAk04hvr/view?usp=sharing (~7:30) I didn't have as much time as yesterday to practice :(

Day 4 (total: 2 hr): https://drive.google.com/file/d/1-PC1Qewv7X3Ty9x9QWSbB9kNR0WVtHOn/view?usp=sharing It's recorded at the piano room at my work. 

Day 5 (Total: 3 hr): https://drive.google.com/file/d/1-bJQcshPmkNr925arxBsbQh3xXTgIq4W/view?usp=sharing Also bonus: My half failed attempt at sightreading Mazeppa https://drive.google.com/file/d/1-VE3zrONBQPm0Z_TSJ0MYU9cnOO2JhAj/view?usp=sharing 

Day 6 (Total: 4 hr): https://drive.google.com/file/d/1-fkKSecSaI-OwipZOGHkdLJPi7JLHx88/view?usp=sharing It's getting so hot here XD

white und ivory immer wunderschöne Brautkleider ohne Träger

Das Meer kann ein viel weniger formalisierter Ort für  eine Ehe sein und eignet sich nicht gut für schwereren Satin, viele  Perlen, lange Schleier und Züge. Es ist auch oft viel billiger, da Sie  in der Lage sind, herausragende Hochzeitsoutfits direkt von der Stange  in zahlreichen guten Geschäften zu finden.

 Das Auswählen einer Scheide oder eines A-Line-Stils ist bei einer  Hochzeit auf dem Meer einfacher, insbesondere wenn im Allgemeinen ein  leichter Wind oder eine leichte Brise auf dem Sand weht. Oft werden die  wogenden Typen nur stören und sich nicht als angenehm für Sie  herausstellen.
Während off white, white und ivory immer wunderschöne  Brautkleider ohne Träger und akzeptabel sind, würde ein fantastisches  hellgrünes oder blaues 
hochzeitskleider übergrößen
,  zartes Gelb oder ein Lavendel mit der natürlichen Kulisse des  herrlichen Sandes und Meeres auf jeden Fall fantastisch aussehen.

 Sie und der Verlobte möchten vielleicht immer noch eine traditionelle  formelle Hochzeitszeremonie. Wenn ja, vergessen Sie nicht, die Wetter-  und Strandbedingungen zu berücksichtigen und wählen Sie Ihr Kleid unter  Berücksichtigung dieser Bedingungen aus. Auch hier keine schwereren  Stoffe, lange Züge und der Schleier kurz und unkompliziert.