Is this group a Yiga Clan scheme?
Hello! I'm a drumline/battery arranger and I'm looking for some people that would like to arrange marching band/dci/indoor marching shows, but don't have the skills to write marching percussion pieces!
If you do, would you like to share it with the group? Assuming we get a group?
anyone have ideas on how to improve the group?
i was hoping folks would share sound fonts and effects and more folks would share music with interesting effects.
I can't decide if I should switch to Baritone or Tenor Sax, or if I should stay an Alto Sax. Can you help me decide
I've convinced my director to get my saxophone section new mouthpieces for jazz. I've been researching them for a while, but have not found good mouthpieces for a good price. Any recommendations? We have 2 altos, 2 tenors, and I play bari.
Hey! I'm writing a drum corps show entitled "lost&found" and I need a battery and front ensemble arranger/arrangers! Message me and I'll send you an mp3 of the brass book to see if you're interested!
Does anyone know how to shift down to tenor clef? I've been trying to learn for ages now, but it never sounds quite right. Please help! Thanks :)
I started the first section as an exercise for modulation, and then decided to expand it into a dance suite. I wrote the sections in the following sequence: prelude, gigue, sarabande, allemande, and minuet.
The minuet was written yesterday during a day-long severe headache, which is a little different from the other parts. I am not sure if it sounds alright here, or I should replace it with a "normal" one.
Any comments about this suite is welcomed!
Also, I would be grateful if cellists can help me to correct the notation (many thanks to Teodor Lontos for his previous help).
And to you, I have 2 questions:
1. Above which pitch would you prefer a treble clef?
2. For a piece with changing tones, would you prefer key signatures or just mark it with the notes (as the present version does)?
Thanks and have a nice Sunday.
Hello! I am looking for sheet music for a violin and cello duet! It's been pretty hard searching for a piece that both sounds good and is pretty challenging. If anyone can send over some great pieces (from musescore) or even websites that have free and good sheet music that'd be great! Thanks for your help in advance! :))
In this group, I will help ANYONE with a Saxophone! I will love to help! I myself play the Alto Saxophone, But I will help Alto, Tenor, or Baritone Saxophone! Just Keep in mind... If you need help, Please join my group! Also if you need help with a song, I can somehow help you! :) If you want to join please click join!
Link to the group:
Does anyone know if you can automatically transpose the key of an entire part using the Musescore software? If so I can't figure it out, and really don't want to transpose by hand. I'm trying to arrange a piece for a sax quartet.
I uploaded a scherzo for solo violin , check it out:
It's really horrendous !
Hope you enjoy!
~FEEDBACK IS M
A small composition i had composed back in January , but decided to uploaded now.
Please , check it out :
Hipe you enjoy !
FEEDBACK IS MUCH MORE THAN WELCOME!
Clarinet 1, 2, and 3 all play as separate sections. The Clarinet 1 section always has all of the try hards on that row. They can never really play together with each other because they are always trying to show that they can play their parts better than all of us sitting behind them. Whenever there is a really technical part (With lots of INK! LOL!) they are the ones who are NEVER afraid to try it, while playing confidently at full volume. Basically these are the only players you can hear out of the entire section for most of the piece. The Clarinet 2 and 3 sections are more unified than the first. We are the players that sit behind and we are the first to be ok with not knowing how to play our part and pulling our clarinets down and letting the firsts handle those difficult parts. The ONLY thing these two rows can do better than first is stay playing together. This is because before even discussing, it is understood that when it comes to the difficult parts we all collectively REST. while they continue. You can never hear us when we are playing by ourselves, and you won't ever hear us playing over the Clarinet 1 row like we are supposed to, because we are always unsure of how our parts are supposed to sound.