Dear 21st Century young eastern European composer...

[The Jackson]

For me, it is a "maturing" process that I'm going through to take my musical "vision" from the idealistic to the realistic. This has nothing to do with compromising quality or artistic creation; it has everything to do with having something that SOUNDS good and not something that LOOKS good (my new interest in electronic music does nothing to help this...). The best thing about being a music composition student is having so many dynamite people to work with on new tunes. Where I'm at right now, I'm thinking that my writing ears have sharpened and smartened up from that writer/player interaction than from anything else. It's too bad that a part like that landed on your stand, but the lesson learned from it could really be something profound to that 21st Century young eastern European composer...

[UDELBR]

I'll dogpile.

Dear modern composer:

Moving 16th note lines at a breakneck tempo in the pedal range ain't never gonna sound like much of anything, regardless of who's playing it. Please take note.

[UDELBR]

all it takes is ONE tuba player who CAN do those things to ruin it for the rest.

The physics makes the pedal note / sixteenths example plain ol' impossible though. Below pedal C (32hz) at a relatively moderate quarter = 90 bpm, (and assuming immediate response, which is unlikely), it only gives the ear several wave fronts to 'guess' the pitch. That's why is gonna sound bad, no matter who's playing it.

Last week's program had pedal 16ths at quarter = 160.

[Kevin Hendrick]

all it takes is ONE tuba player who CAN do those things to ruin it for the rest.

The physics makes the pedal note / sixteenths example plain ol' impossible though. Below pedal C (32hz) at a relatively moderate quarter = 90 bpm, (and assuming immediate response, which is unlikely), it only gives the ear several wave fronts to 'guess' the pitch. That's why is gonna sound bad, no matter who's playing it.

Last week's program had pedal 16ths at quarter = 160.

Perhaps the composer was trying to simulate the after-effects of some really bad chili?

[Kevin Hendrick]

Perhaps the composer was trying to simulate the after-effects of some really bad chili?

Or really good...

That too! "By their toots ye shall know them ..."

[pierso20]

The composer just doesn't know the instrument.

Plain and simple. It's error in the composer.

And many GREAT composers still screw this stuff up.

The answer? Write a solo piece for EVERY instrument so you understand what you're writing.

End.

[tbn.al]

The conductor looked at me and said, "That lick sounds muddy, there". I said, "All I do is play what's written boss." Regarding bass trombone/tuba minor thirds below the staff. I took mine up an octave and fixed it, although I was above the 2nd bone. Not European but decidedly 21st century youngster. I wonder if he wanted it that muddy? It surely was muddy on his software/midi.

[Kevin Hendrick]

The conductor looked at me and said, "That lick sounds muddy, there". I said, "All I do is play what's written boss." Regarding bass trombone/tuba minor thirds below the staff. I took mine up an octave and fixed it, although I was above the 2nd bone. Not European but decidedly 21st century youngster. I wonder if he wanted it that muddy? It surely was muddy on his software/midi.

... and there's (almost) nothing worse than muddy MIDI ...

[pierso20]

The composer just doesn't know the instrument.

Plain and simple. It's error in the composer.

And many GREAT composers still screw this stuff up.

The answer? Write a solo piece for EVERY instrument so you understand what you're writing.

End.

Further, the error is catastrophic - as the piece seems to be "built" on these effects in the brass.

Thus = not well written.

Going back to the other topic that was linked to here: Are composers musicians? Sure. Doesn't mean they're "good musicians" or "good composers".

[Mark]

Or that easy on the synth jump from pedal C to high G.

[jmerring]

I find it scary, that any instrumentalist could be temporarily (or permanently) replaced by the MIDI/synthesizer, so that the 'composer' can get the sound that is in his or her head. Many of you have bemoaned the movement toward 'canned' musical accompaniment - and rightly so. We have already lost gigs to touring companies of operas or ballets, that use pre-recorded music. A prime example (and one I find extremely repugnant) is the playing of 'Taps,' at a military funeral, by means of a recording.

Go on; chew my head off.

[pierso20]

I find it scary, that any instrumentalist could be temporarily (or permanently) replaced by the MIDI/synthesizer, so that the 'composer' can get the sound that is in his or her head. Many of you have bemoaned the movement toward 'canned' musical accompaniment - and rightly so. We have already lost gigs to touring companies of operas or ballets, that use pre-recorded music. A prime example (and one I find extremely repugnant) is the playing of 'Taps,' at a military funeral, by means of a recording.

Go on; chew my head off.

It IS scary. But the problem also relies in ourselves - we need to evolve what we do. Otherwise we will be left behind. That's all.

FYI - I've NEVER heard taps done via recording...such a disgrace.

[PMeuph]

I find it scary, that any instrumentalist could be temporarily (or permanently) replaced by the MIDI/synthesizer, so that the 'composer' can get the sound that is in his or her head. Many of you have bemoaned the movement toward 'canned' musical accompaniment - and rightly so. We have already lost gigs to touring companies of operas or ballets, that use pre-recorded music.

I totally agree with this. I once had a discussion with an acquaintance who said that "Musicians had priced themselves out of work" and that as one of the main reasons why midi/synth/samples are now dominating the applied music world (ie. film, games, jingles, etc...) While is point is well taken, there is no way a musician could work for hours on end (like the synth can); Musicians wouldn't want work at 3 am in the morning; Musicians need some practice time for difficult licks, etc...

The point is that composers can now work anytime they want from anywhere and compose their music. They can compose music that is as complex as they want. Also, the cost of a good computer with sound banks might be imposing, but it is certainly less than hiring an orchestra for a day. (The Vienna Symphony library costs around 3000$ for the basic version, with all extensions it is around 6000$ Even if you factor in 15000$ for a computer and software, that is certainly less than a 100-piece orchestra for a day, with recording equipment etc.) With synth sounds the can sustain notes for hours if they want to. Their new limit, is not governed by the performer's capacities, but by their computer's processor and RAM...

[PMeuph]

FYI - I've NEVER heard taps done via recording...such a disgrace.

http://www.ceremonialbugle.com/" target="_blank

[Dutchtown Sousa]

FYI - I've NEVER heard taps done via recording...such a disgrace.

http://www.ceremonialbugle.com/" target="_blank" target="_blank

That is disgusting. If you serves in the military you deserve more than a recording. I know if they had played a prerecorded one at my grandfather's funeral someone would have raised hell, if it wasn't me.

[tbn.al]

Read the right side bar.

With the bugler shortage in mind, Congress passed a law that took effect in January 2000 and allows a recorded version of Taps using audio equipment if a live horn player is not available.

There you go. Some of us should maybe volunteer.

[BAtlas]

Maybe he just forgot to write, "sneak breath when needed."

I'm currently doing an arrangement of music from Close Encounters where I have to hold a low D and crescendo for long periods of time, thankfully the arranger decided to write "sneak breath when needed."

Also...speaking of modern works



I certainly hope he got what he wanted

[Dutchtown Sousa]

Maybe he just forgot to write, "sneak breath when needed."

I'm currently doing an arrangement of music from Close Encounters where I have to hold a low D and crescendo for long periods of time, thankfully the arranger decided to write "sneak breath when needed."

Also...speaking of modern works



I certainly hope he got what he wanted

Maybe music notation software should play the note only as loud as the typical player can that way when he or she hears a band play his or her music, he or she is not surprised by the fact the tuba on the long pedal tones is getting buried by the rest of the band. My band director always emphasizes phrasing, like playing all 4 measures without taking a breath or decreasing in volume. That doesn't exactly work when you are playing FF and marching in a way that restricts your lungs. Some people just don't understand that unfortunately.

[Carroll]

Read the right side bar.

With the bugler shortage in mind, Congress passed a law that took effect in January 2000 and allows a recorded version of Taps using audio equipment if a live horn player is not available.

There you go. Some of us should maybe volunteer.

Some of us do. I have played about twenty funerals (on trumpet...not bugle). Several of my H.S. alums are on our local list, as well.

http://www.buglesacrossamerica.org/" target="_blank

[Bob Kolada]

Also...speaking of modern works

I certainly hope he got what he wanted

Isn't this a TEXTBOOK example of why all you guys play C tuba?

FYI - I've NEVER heard taps done via recording...such a disgrace.

http://www.ceremonialbugle.com

That is disgusting. If you serves in the military you deserve more than a recording. I know if they had played a prerecorded one at my grandfather's funeral someone would have raised hell, if it wasn't me.

Would it be better to not have taps at all?

My grandfather, a decorated WWII veteran who was at Normandy, passed about a month before I went to Army basic training (but had actually been in the Army reserves for 6-7 months at that point due to the oddities of that component). They had an electronic bugle at his funeral; I don't think anyone but me noticed what it was. I hadn't played trumpet in almost a decade and wouldn't have dreamed of doing it. I was too busy crying over his casket anyways. The "buglers" (2 soldiers, only one played) were extremely professional during it. Full dress blues, stood quietly by the side, "played" in a professional and respectful manner, and I believe they came up to my grandfather's children (my mother, uncle, and aunt) and thanked them after.
To the trumpet players in my band, the military funerals are some of the most important and sacred things they do. But what if a trumpet player cannot be found in time? That electronic bugle may seem disrespectful but it is a VALUABLE asset.