Top Groups

Discussions

YCOO - very badly needing English Horns, Violas and Double Basses!!!

Hello everyone.
You may already heard about us. We're the Young Composers' Online Orchestra ("YCOO"). Recently, we've started a new project - we're gonna play Elliot Butler's Drama for Orchestra No. 6.

In the process of preparing the parts for our members, we found out that we don't have any English Horns, Violas and Double Basses!

If you can play one (or more :P) of those instruments, please consider joining us either forever, or for the current project only. You could save a LOT of effort and hope we're all giving in our orchestra.

Have a great day,
Milan Steklý, moderator of the YCOO

YCOO - very badly needing English Horns, Violas and Double Basses!!!

Hello everyone.
You may already heard about us. We're the Young Composers' Online Orchestra ("YCOO"). Recently, we've started a new project - we're gonna play Elliot Butler's Drama for Orchestra No. 6.

In the process of preparing the parts for our members, we found out that we don't have any English Horns, Violas and Double Basses!

If you can play one (or more :P) of those instruments, please consider joining us either forever, or for the current project only. You could save a LOT of effort and hope we're all giving in our orchestra.

Have a great day,
Milan Steklý, moderator of the YCOO

Audition Pieces

  
Hi everyone!
I'm planning on auditioning for a fine arts high-school for 10th grade, and I wondering what you guys recommend for audition pieces. I need two pieces, one contemporary and one classical.
I would say I am mid-to-late intermediate, and am in Suzuki book 3 currently.

I need two solo pieces, without an accompaniment.

Thanks in advance,
Vina (literal mochi)

This is how all high school Clarinet sections are.

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.

Saxophones - The Traitors

A long time ago, there were peace between the woodwinds and the brass. No one disturbed one another, no one interacted with the other. It was until a clarinet got rich and married a trumpet. This was how the saxophones were created, - those disgusting brass clarinets, who once were part of us, but now are part of our past.

On a theme by Jehan Alain

Hello, i just finished my small composition for string quintet (with pizz double bass). The first part is based on an theme by Jehan Alain (on organ, taken by ear) who was a composer and organist. He died in WWII. He is one of my favourite composers. The second par is in post romantic style. The name "la lettre" refers to a secret handwritten letter that could appear in an imaginary movie :

https://musescore.com/brouits/scores/5649500

Thanks for listening and commenting.