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Flutes

3 discussions • 20 scores • 66 members

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who is chinadoll?

Some folks have wanted to know, "who is chinadoll?" These one or two folks are musescore members with an abundance of free time and curiosity about trivial issues that have nothing to do with music composition. That said (written), let us (me, this is confusing) be clear, they are very nice people and chinadoll is deeply touched (in the head, most likely) by their interest. So here goes.
  
Chinadoll has beautiful glossy golden brown hair, large soft eyes, a very quiet shy disposition along with an exceptionally sweet and gentle nature. Chinadoll loves loves fresh fruit (especially bananas) and vegetables. Yes, chinadoll is a Syrian Hamster with a bit of a talent for composing music. Late at night when everyone is asleep, chinadoll will tap out the notes on the home computer using her little paws. She loves attention and lots of gentle petting (especially if you give her a treat).

Woodwind balance

I am seeking advice from ensemble players and/or anyone reasonably experienced with scoring for winds, especially if you have a background in chamber music.

I compose and arrange for piano, strings, and guitar, but I am hoping to expand my horizon and beginning to look into orchestration in general.

I own a grand flute and have a basic understanding of what it can do and how it will sound not as MIDI but in real life. What it can cut through, and what it will only ever-so-slightly color.

By extension albeit to a lesser extent I can claim the same for the piccolo.

However, I have zero experience writing for oboe, clarinet, or bassoon.

The following piece is my very first attempt at balancing all five woodwinds mentioned above, and not just against one another but against five string instruments as well.

https://musescore.com/user/27897310/scores/5545711

Owing to complete inexperience, at first I tried to tackle this by thinking in terms of flute and string quartet, and treating the rest of the players as supporting cast. I have no idea if that's the wisest thing to do, but that's what I know. So it starts off tame and only gradually grows more confident.

The piece is tonal and requires no virtuosity from any of the players. I am not concerned with what's playable and what isn't. I am concerned with balance, texture, and color. 

So if the individual parts are unremarkable that's a good thing. My focus is on making them come together to form a cohesive whole. Not on pushing the envelope, but on acquiring an understanding of the basics. There's no point in writing the next Rite of Spring if you can't even orchestrate two bars of a simple waltz.

In brief, I have no idea how any of this will sound on actual instruments, what to look out for, and what not to worry about. 

So if something jumps out at you as an experienced ensemble player, by all means do let me know. 

If nothing does, all the better.

The runtime is six minutes. 

Thank you in advance.


Alex.

Useful musical notations

Useful musical notations with some translations as well

Accelerando – to gradually get faster since you are such a slow poke; 急いで、私は私の歯科医の予定に到達する必要があります

Andante – a walking tempo, temporarily, until you trip over a sixteenth note; 足にけいれんがありました

Basso continuo – a form of bass line from the baroque period, noted with numbers that indicate chords, probably in a random nonsensical fashion according to the whims of the composer; あなたは生の魚を食べたことがありますか

Berceuse – a lullaby, causing you to doze off and miss your cue. Then the conductor throws his or her baton at you, stabbing you through the heart, and forever after you mournfully haunt the concert hall; matur nuwun sewu lulla, aku wis wektu swell

Crescendo – growing as in a swelling of sound, short for "Criminy, close the blooming window"; te recomendamos a good restaurant

Expressive – play expressively, sometimes with tears, grimacing, and much gnashing of your teeth; Har du noen kippers, jeg er sulten

Fugue – contrapuntal, someone's contrary uncle; غوريلا قليلة في العالم

Gigue – a lively dance form from the baroque, and when the music stops, everyone yells "gique!"  and everyone falls down laughing: uma ingaphukile ungayilungisi

Giocoso – play the piece cheerfully or in a playful way, what other way is there? আমার পায়ের আঙ্গুল ব্যাথা, এটা কিছু মাখন করা

Leggiero – lightly without force, also a type of linguini; hvis du kommer til at trykke mig på skulderen, gør det forsigtigt, tak. Jeg er hele fra mudderbrydning i aftes

Legno – for string players to use wooden side of bow to hit the strings, and sometimes the heads of other players; fass mein Bein nicht an NEIN!

Mezzo – half, what the conductor says you will be paid for a performance; Hatagan ko ikaw niini nga donut

Passacaglia – baroque dance form with a short melodic phrase, usually in the bass, and sometimes in the basement; 海龜是很棒的寵物

Poco a poco – little by little, you poka me, I poka you to the tune of a polka; ти ме тласкаш и аз ще те съборя

Rallentando – gradually slower, since we get tired during a performance such as one of Wagner's 8 hour opera performances; когда я становлюсь старше, я становлюсь медленнее

Ritenuto – slow down, obviously a curse word in Italian meaning "addle-brained musician who can't stay on the beat" but few will admit it ; Εγώ θα puke εάν δεν οδηγείτε πιο αργά

Rubato – play with freedom, deviate from strict tempo to get more expressive playing, also another curse word, loosely translated "you are a fat pig"; onde fica o banheiro?

Scherzo – joke, fast light-hearted, the sound an Italian makes when he or she sneezes (I'm part Italian so I am allowed to do Italian jokes); La tua faccia sembra un formaggio ammuffito

Sarabande – in baroque, a slow, genteel dance in triple time, also a small musical group led by the famous singer, Sara; Ég stakk upp á hundinn þinn

Triple time – three beats to a measure like ¾, also, multitasking, doing three things at once like drinking a soda, texting and driving causing you to rear end a truck; Эмнэлэг хаана байна вэ?

Need advice about the bassoon

You may or may not know this but I am arranging the Pathetique Sonata for a symphony orchestra. I have gotten to the second Grave section and the notes reach the very lowest register of the bassoon. Before I get too deep into it, I need some advice about the bassoon, preferably from someone who plays the bassoon.

Can the bassoon play pianissimo in its lowest register? Because the last note of the Grave section that I would put in the bassoon part is a B natural below the bass staff. I know the bassoon can be very mellow sounding but can B natural below the bass staff be played pianissimo? If not, then I will just have that note played by the double basses and notate it up an octave from where it is in the piano score to get the desired pitch.

Infamous 16th note Passages & Band Excerpts

I wanna know some lists of pieces that you all have played during your time in Band in School, and What are some pieces that you all have played with some of the most Infamous straight 16th note runs that last for more than 16 Bars in the Woodwind Parts in Band Pieces? I have one to start it off and it's Metroplex by Robert Sheldon, has anyone ever played this piece or anything just as bad like it?

Posting music online without having the instrument sounds go haywire

It is really great that musescore now can let you post your compositions online with the same soundfonts and thus the same sound you hear on your own home computer, or wherever you do your composing. No more frustrations of having the posted compositions sounding different from what you wanted. Under file, click save online and check the box for importing your composition's sound. Nice.

How to be heard over the rest of my band?

So im in marching band and I'm the only flute out of 16 hornline, mostly brass...

I keep trying to play louder but it always goes up an octave or makes an awful screeching noise. Even though I have been playing for about two years, I've never found a solution to the problem.  I was wondering if any of you could give me some tips on how to play louder but still sound decent during competitions.