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Victorious Brass

Discussion in 'Critique & Feedback' started by George Streicher, Mar 28, 2020.

  1. #1 George Streicher, Mar 28, 2020
    Last edited: Mar 28, 2020
    In the spirit of staying creative and productive in these weird times, I wrote and recorded this upbeat brass piece. HUGE thanks to the musicians (Marc Papeghin, John Stacy and Alex Hill) who recorded this for me.

     

    Attached Files:

  2. Now that's how to spend your time. Whatdy'a learn new?
     
    George Streicher likes this.
  3. I learned a ton, I think, and I'd love to hear any advice or input!

    As far as what I think I learned....

    I did it all in Sibelius, which was a first for me. But I think the act of "slowing things down" and REALLY looking at it yielded some interested results. Definitely found some things that I wouldn't have found by just playing it into my DAW.

    Once I'd mapped out my progressions and section ideas, I really started to try and find all the opportunities for moving around inner lines, trading off melody between sections at times, and giving different instruments moments to rest or come through. It definitely helped me find little openings and opportunities for neat rhythmic or counterpoint moments.

    I can still see and hear a lot of different things I need to work on. Especially in the area of voicing chords and arranging things. I think I need to start from a more "broad strokes" perspective. Get everything in place and working before I start diving into details.

    Next time I think I'm really going to make sure my chord progressions and bass lines are solid before I go nuts. This is definitely where me sitting at the piano helps. I can see and feel all those "little moves" that are so important.
     
    Paul Poole and Doug Gibson like this.
  4. One of the strongest arguments for, and most compelling reasons for writing for two handed piano at the piano, is that the physical limitations of the number of fingers you have, and the spans of your hands, naturally forces you to get to the essentials. The things that matter most. You can't get lost in a sea of options when you have a finite number of fingers. You can't arbitrarily throw in doublings or unnecessarily fatten up voice leading. What I noticed in your piece was that it didn't have the very clear two handed essential solid, core foundation. So it has lots of great stuff in it and they're Tethered to each other, but we're really looking for is that they grow from the trunk like a tree.
     
    George Streicher likes this.
  5. Thanks for checking it out - on to the next one! I think I'm going to do a small strings piece next.
     
  6. Amazing piece and good idea as a practice! And I like it that you got it played by real musicians! Did you contact them via Fiverr or are they friends? :)
     
    George Streicher likes this.
  7. Great job!

    Was this played to click alone, or live?

    I'm wondering what your thinking was in leaving the third trumpet and tuba out of what was otherwise a tutti opening. (Not a criticism; just curious.)

    One suggestion, in keeping with the times, you need to have them place face masks over the end of their bells. The tuba will require an XXL, of course. This will yield a just slightly veiled but germ-free tone. The text directive is: con maschera. The term of expression: andromeda strain-ingly.
     
    George Streicher likes this.

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