I have uploaded my score for the first part of my ballet The Black Rose. I received lots of very encouraging feedback about a waltz in it and this has spurred me on to get the piece into order. I am also getting to grips with the music program Sibelius and forgive the lack of dynamics - they are en route (long job!)
If you would like to hear the temp score it is on my music page: https://composersforum.ning.com/profile/JackPickett
It's a tad minimalist for my tastes, but interesting. I'm particularly drawn to the fact that it is intended as a ballet - anyone with the balls to write for the stage gets my vote! Best of luck with this.
Quinn - I am afraid the score is a mess yet worry that this is after I have spent more time on it than I really had anyway. I think the best course of action regarding this would be to hire a copyist to straighten things out. It makes me feel like a phoney though!! Mind you I didn't get kicked off my music degree for nothing...I have always struggled to get my scores up to the standard required. Thanks for taking the time to listen.
Nick - its strange - I never try to write minimalism. Sure I have some on my iTunes but to be honest for every minute of Glass / Adams etc that I like there are probably about 10 hours + that leave me cold. I want to like Nixon in China for example a lot more than I actually do. Still doing work for the stage is something I has been an ambition since I did a season backstage at Glyndebourne (and a couple of other theatres) that funded my music when I was getting started. One of my deeper aims is to write modern music that doesn't alienate a non-academic musician / listener (the "my mum" factor if you like). Thanks for the luck - it will need it! ;)
Ditto on Glass/Adams I was concerned with the start of your Black Rose (I guess the best word would be restless "where is this going to go") but really enjoyed the development . . liked where it grew. Much more interest.
RE copy editing -- do not despair. My teacher (I chose to study composition privately) was a master composer widely recognized but that was "back in the day" pre-digital. He always used a copyist to make a presentable score. He was very smart to the orchestra having played a lifetime in one of the biggies. So it wasn't his lack of information. He just understood it was necessary to have a different eye look at the score and proof it.
re copying etc.. This is a really interesting theme which might warrant a separate thread. I've noticed more and more studio composers coming for lessons and help with in the academic side - harmony, counterpoint, form etc.. I wonder if this is a trend others might have noticed.
B Bentrup Gray said: