Top Groups

Brass

75 discussions • 1.2K scores • 2K members

Discussions

Voting

Please post which song you like best in this discussion and on the due date of the challenge I will see which song has the most votes (ties are aloud, there will be no tiebreakers). You can only give 1 vote and It can't be your song (If you have one for the challenge).

I need some new song ideas

A friend and I are seniors in high school and we have a band. I play alto saxophone and he plays drum set. We have played at basketball games, in school concerts, and background music at various school events. Our next (and possibly last) performance is going to be at our graduation, so obviously we want it to be our best performance yet. Our problem is we cannot seem to find a good song/songs to play. We are looking for something fast, upbeat, and fun. Somewhere between 3 to 15 minutes would be perfect. Some of the songs we have played before include: Shipping Up To Boston, Megalovania, Blue (Da Ba Dee), 300 Violin Orchestra, Harder Better Faster Stronger, Eye Of The Tiger, ect. Hopefully that gives you a good idea of the type of music we enjoy playing.

Any song suggestions would be very helpful. Also, if you have any other places I could post this question please let me know. Thanks in advance for any suggestions anyone gives.

Flute Sonata in Eb, need some feedback

If you haven't seen it yet, here is the link to my flute sonata:

https://musescore.com/user/50070/scores/5703661

I nicknamed it The Haydn Sonata because I am trying to get across a Haydnesque feel to it. I have noticed these things predominant in each composer of the Classical Period Trifecta:

  • Haydn: Humor, melodic and harmonic surprises
  • Mozart: Alberti bass, effortless grace
  • Beethoven: Sheer power, even when the melody is more lyrical


Haydn is the one who inspired me to write this flute sonata. I wrote the sonata exposition in just an hour and this is the first sonata for a duet that actually has a finished exposition.

There are quite a few surprises in my sonata exposition. Here they are:

Bar 5: Sudden entry of the flute and absence of the piano 
Bar 6: Sudden reentry of the piano 
Bar 10: Short diminuendo, like the theme isn't quite done yet 
Bar 11: Short staccato variant of the theme over a syncopated bass 
Bar 14: Sudden forte cadence, theme is now finished 
Bar 15: Piano dynamic in transition material right after a cadence at forte, sudden absence of the flute 
Bar 21: Forte dynamic when transition material is taken up an octave, flute comes back 
Bar 26: Piano dynamic yet again, descending trill motive 
Bar 41: Very busy texture as the repeat comes closer 
Bar 47: Sudden change in texture, sudden dynamic change as it repeats

I'm wondering, is my sonata exposition Haydnesque in its nature? I tried to get a Haydnesque feel to it by being more humorous than serious with the music. Anything impossible for the flutist? Does it feel like a Molto Allegro to you(tempo is at quarter note = 140 BPM)? Or should I just take the Molto off and just have Allegro as my tempo marking? 

Songs for alto and bari sax

So I have been playing alto for almost two years and I started on the bari sax and I'm pretty good. But all my band music was thrown out for my alto sax(didn't play bari in my band) and I'm looking for songs to play and learn. I want to get better at Bari for the upcoming school year since thats why I'm playing the bari over the summer. Thanks! Hard, easy and in between songs are just fine :)

Polonaise in Bb, Feedback Wanted

I have been composing a polonaise in Bb for the past few days. The A section of the polonaise is what I have written down. The A section of the A section is what my first few questions are about and is the exclusively diatonic section. The B section of the A section is more chromatic. I am asking these questions because they came up to me after listening to my own polonaise a few times.

1) Is the bass in the A section of the A section(bars 1-8 and 23-30) too dense?

2) In the consequent phrase(bars 5-8), is the bass too close to the melody? Should I bring it down an octave?

3) In the B section of the A section(bars 9-22), am I handling my chromaticism correctly or not?
 
4) Is it too much of me to expect a pianist to play a polonaise rhythm in octaves for the whole B section of the A section?

5) Do I smoothly transition into the inversion(left hand becomes right hand kind of inversion) or not?
 
6) Is my A section too repetitive with 2 periods and a motive sandwiched between the 2 periods and the repeat sign?

7) Is 30 bars enough for the A section of a piece that I expect to be 200 or so bars long, or should I extend my A section further? 

Here is the link to my polonaise score:

https://musescore.com/user/50070/scores/5682039

How else do you think it could be improved? Right now, I'm thinking of what to put in the B section of my polonaise.

Competition!!!

The rules are simple.

Compose a piece of sheet music!
It doesn't have to be original but it does need to have alto sax and optional accompaniment.
There is no "Prize" but you do get to know that your piece was the one that I liked the best. There are no losers.
Submissions go in the comments.
Let the games begin!

Notation be like

So I usually am not in the presence of staff paper, and I absolutely love graph paper for many things, so I created my own system of notation for when I have graph paper but no staff paper. It’s rudimentary and inefficient, but it makes practical sense. It’s not really meant to play off of, it’s more meant to keep track of rhythms and pitches for future use. Currently I’m using this system to transcribe and transport the sax solo from Youngblood Brass Band’s “Brooklyn” into Flat.io without changing tabs or removing instruments. I’m mildly proud of this system; I’ve used it in the past, up to a year ago, but I’ve refined it.