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But today I delivered a score for a "brassband" ( trumpet, flute, alto sax, tenor sax, clarinet, f-horn, trombone, bariton, bass) I knew the theory, but I never actually did something like this.
It was very exciting to hear my own music played by about 18 musicians. I'm a happy man. At least for a day. Tomorrow I'll be back on those miserable picado studies.
Thank you. Yes I worked hard on it. Actually there where three songs, but I messed up two of them a little bit. Too high notes for the trombone and the altosax players were not able to lift the main melody over the other instruments, so I have to thicken it with trumpets.
hey koella, as you probably are not upload the score it will be the same for a sound example? I would love to hear a little bit, is it also related to flamenco or has it nothing to do with it? (I mean modes, rythm etc, not with guitar ofcourse)
alvast bedankt Andy
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Plus je connais les hommes, plus j'admire les chiens." E. Satie
you can't blame a men for trying..... well, congretulations , and to answer your question, i have also made something for a brass band. But I did try to use the modes and rythm of flamenco, alltough it was worth the effort and did'nt succeed as good as I wanted too. But I've learned a lot about music, and how you transcribe something in notes and maybe more important with feeling.....
that's why I was interested
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Plus je connais les hommes, plus j'admire les chiens." E. Satie
Allright. yes the feeling is very important. I had to give advices of how to play the notes. You can't put that on paper. When you make something on a guitar, you play it yourself. But when 18 different characters play your sheetmusic, a lot of information is not on paper. That was a real eye-opener for me.
Years ago, I wrote for "Big Band". I stood accused of writing in the vein of "Eric Dolphy" to whom I had never heard. Now, 30 years later, I am just now attempting to play "Flamenco". Since most of my compositions back then were in multi-meters (including individual instruments departing in different meters and rejoining after the accented beats aligned)----I really love Flamenco, as it would appear to do these things and has for quite some time!! Getting a "Jazz" horn section to play in "multi-meters" is a b.... though!
Like I said, it was over 30 years ago. It was in Detroit Michigan USA. We had for professors a bunch of former "Motown" session men teaching jazz (be-bop style). Like Flamenco, it was kind of an oral tradition. You would write the charts and hand them to the players and listen to the result. Of course their are too many variables to mention (players abilities-styles-etc..) that would shape the end result. It was basically trial and error learning for me. If I run across any old books I will let you know. There is the mechanical aspects of learning to write for each instrument in it's clef etc...
Hey John, that's fantastic. Composing for motown veterans. What I'm specific looking for is not the theoretical art of voicings. You know, like how to let a chord flow into another, or what the specific range of an instrument is.
I'm more interested in colors by mixing instruments, what voice for what instrument (s). And how to make choices for that.
@ Henrik: Any books about that, or advices you could give me ? Like how to start best ? Should I first make a simple pianosheet for the voicings ? Can I pm you about that ?
koella, i have only swedish books about it but i know there are some books about arranging from berkley or something, cant remember the´r name right now
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This is hard stuff! Don't give up... And don't make it a race. Enjoy the ray of sunshine that comes with every new step in knowledge.
Not sure it's what your looking for, but it's a classic. There is a section on "experimental material for the progressive arranger-composer" The whole book is full of great insight.