big thanks to the anonymous person who gave me a month of free pro musescore. so kind and wonderfully wonderfully generous.
Hello again, I was wondering if you have any tips on how to not be so out of breath after finishing a song on the flute. I really appreciate if you put comment/tips. Thanks again!
So, I am arranging K 545 for a string quartet which is why I am asking this question. What should I do when I come across an area with 3 voices like for example bars 1-11? It is easy for me to decide what to do for 4 voices or for 2 voices or for a single voice. But the 3 voice situation is more complicated. Here is what I do for different numbers of voices:
4 Voices(such as bar 12):
1 voice per instrument, no octave doublings
2 Voices, both treble(such as bars 18-20):
Have first violin take up the higher voice and have second violin take up lower voice
2 Voices, both bass(which doesn't occur in the sonata):
Have viola take up the higher voice and have cello take up the lower voice
2 Voices, 1 treble and 1 bass(such as in bars 31 and 32):
Have either of the violins take up the higher voice and have either the viola or the cello take up the lower voice depending on how low the bass voice goes
1 Voice(such as in bar 13):
Simplest situation of all, just look at the range and see what instrument is best for that range.
In either the 2 voice cases or the 1 voice case, there may or may not be octave or unison doublings. Partly depends on whether there have been any rests recently.
But the majority of the sonata is in 3 voices. Sometimes, it is 2 bass and 1 treble and other times it is 2 treble and 1 bass. This is way harder to decide on, because the viola can partner up with the cello as a bass instrument or it can partner up with the violins as a treble instrument. And the 3 voices situation brings up the question of whether I should have the other instrument double by the unison or the octave or whether I should just leave it out.
I was wondering if someone could give me some advice here on what to do when I see 3 voices in the sonata that I am arranging for string quartet.
I have arranged Piano Sonata K 545 for a string quartet. It only took me 2 hours to arrange the entire first movement. The last time I have made an arrangement this quick was when I arranged The Four Seasons for a flute and piano duet. All my other arrangements have taken days to months to complete.
I only have the first movement of K 545 finished so far but if it took 2 hours to arrange the first movement(which is by far the most complex movement of the sonata), then it shouldn't take all that much longer to arrange the second and third movements. Maybe I will even get the sonata arrangement finished by tonight.
I would like some feedback on my arrangement for string quartet. Here is the link:
https://musescore.com/user/31782077/scores/5553531 If ya like it let me know, if not let me know .... either way praise the Lord...
Hi. So I have been playing flute for a little over 3yrs now, and I am right now trying to write a piece for band and I just want some ideas from you guys.
I Have a production "Company" in the works we have a website and I am currently working alone on music. I would love to have some partners to assist me in my ventures! You must be active and keep in mind, there is no pay, I am just looking for some people who would like to help me publish saxophone music, and join Cashyman Productions. If you join you will be listed on the website and you will also be added as an admin. Thanks, looking forward to working with you,
Here is my first score on Eleazart 4, it is
a fugue for flute oboe and basson, enjoy and comment!
I just joined the group like literally right now. I am a serious Panic! at the Disco fan and I was wondering if anyone would be able to make some more P!ATD Scores for me to play as there aren't very many for Flute. If you didn't already guess, I play the Flute and I am at a Intermediate to Professional Stage. (I have been playing for 3 Years going on 4) Thanks So much!!! HAPPY FLUTING!!
How many of you play the flute?
So, I made it my goal to try and play Flight of the Bumblebee before my High school experience ends and I need help learning how to do circular breathing. I've seen videos as to how to do it and have been trying for a week with no progress. I'm only in Grade 10 at the moment and is halfway through semester 2. That means I've got more than two years to do this. Can anyone give me some tips? I've got my technique down for the flute and I think that I'm pretty decent--tone and tonguing wise. The only thing that needs work is breathing for me. I'd appreciate it if you could also give me some tips regarding my breathing.
Hi, my name is Noah (Z. Værum) and i am a composer/clarinetist and i come from Denmark, i've composed a litlle piece for 4 horns, so i hope you like it. If you want to buy it, the link is below ;)
https://musescore.com/user/31782077/scores/5546126 comments welcome...
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.
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.