I finally finished working on this piano duet today. Any name suggestions welcomed, as well as any other feedback!
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.
Can someone do a piano cover of Cold As Stone by Kaskade?
Hello! I uploaded some new music (kinda - I wrote it a few years ago), and I was hoping some of you could take a listen! It's a Sonatina, and I've been calling it the "Procrastination Sonatina" in my head, since I wrote it to avoid practicing a piano piece I wasn't too fond of. (Here's hoping my teacher isn't on here.)
Does anyone know of or have any music arrangements/songs in a Blues style? The band has 3 Trumpets and 1 Tenor Trombone (me!), but Trumpets can double up. Thanks!
Spielst du eigentlich ein Instrument? Wenn ja, welches?
Hi! I was wondering if you would like to view my compositions. To avoid rhythmic glitches, please print them off of piano shelf .
Hi! I was wondering if you would like to view my compositions. To avoid rhythmic glitches, please print them off of piano shelf
La robe est l’un des achats les plus importants et les plus importants de votre journée massive, ce qui signifie que vous voulez vous assurer que vous avez fait le plus grand choix et que vous êtes satisfait de ce que vous avez sélectionné. À la fin, c'est votre mariage et c'est vous qui portez cette robe de mariée. Quels que soient vos choix, vous saurez que vous portez la robe de mariée parfaite pour une grande mariée
site robe soiree
, comme si vous étiez.
Contactez les magasins pour vérifier cela. Le jour de votre rendez-vous, résistez à l'envie de mettre des vêtements confortables et d'aller au magasin. mariée colorées. Les couleurs communes sont rose-violet de toutes les couleurs.
Vous pouvez choisir de nombreuses substances, par exemple: B. dentelle, mousseline et ainsi de suite. Vous pouvez ajouter de la dentelle à votre robe de mariée pour qu'elle soit élégante et élégante. En outre, vous pouvez également ajouter des accessoires à votre mariage pour le rendre plus beau.
I had this idea last year of composing a suite that represents different types of weather. But it wasn't until yesterday that I started composing part of this suite. As you can probably tell from the post title, this part of the suite is supposed to represent a storm. That is why I chose the key to be a minor key. I went with C minor because it is the easiest of the minor keys for me to improvise in. I would have used 8va for the sixteenth note runs in the right hand. Problem is, the section that would be 8va goes by so fast that I'm not sure where to start the 8va. Similar thing goes for where I would typically use a clef change. So outside of the first few bars, I haven't put in any 8va markings or clef changes.
I have been doing these things to get across the feeling of a storm in the piece:
- Keep the 16th note momentum up except for places where I decide to use a harmonic progression
- Use scalar passages with leaps to represent the strong wind
- Stark dynamic contrast(Like it quickly goes from pianissimo to fortissimo in the beginning 5 bars)
- Staccato to represent the rain
- Fast octaves to give a sense of turbulence(which is very fitting for music that is supposed to sound like a storm)
- Use the Fate Motif underneath a long scalar passage to give the feeling of a lightning flash
- Use harmonic progressions to represent the thunder
- Use diminished 7ths more often than dominant 7ths
Here is the link to the piece if you want to give me feedback on what I have so far of it: