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Trio for Flute, Viola and Cello, part II: Chasing Dorian Grey

Hi all,

After a computer failure, I could finally complete the second part of my trio for flute, viola and cello. Like the first part, it has a color in the title, but it also refers to a (traditional) unusual scale. The title already reveals the scale here.

I hope you enjoy the listen,

Jos

Chasing Dorian Grey

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Ingo Lee said:

Dane now I've got to turn up the heater and just strum my guitar nondigitally :)  When you have time to update us on your notation adventures we're interested. And VSL says that Dorico can set articulations in Synchron automatically? Oh my.

This is a great discussion for me though as I'm seeing two different approaches getting great results using more or less the same tools. I had thought that putting an IR reverb system on the DAW output channel would be pretty realistic but Jos has pointed out that rooms are three dimensional and we should be controlling the placement of the instruments in all three dimensions, which makes sense, especially for a larger ensemble I think?

Ingo, I have recently started working with Dorico. What you say here isn't entirely true. Dorico now can have the possibility of expression maps with VSL instruments. That is not automatically adding articulations (which would be a stupid thing to do). It will only suggest which articulation can match  a certain expression. Of course the final decision about its sound and performance will be yours. AND... it's only for (and I hate to say it) the Synchron(ized) instruments. I have the intention to express my displeasure about this with Vienna!

Hi jos,

Yes, I work the other way round from you - I put the music together in the daw, leave it for a few weeks, review it and if satisfied pass it over to notation software which I regard as codes for other musicians to do whatever they choose to do. I start a new work in a number of ways, have developed a shorthand that makes pencil or pastels far quicker than notation software. If I'm working closer to tonality and CPP I'll bung it straight in the daw.

I had believed Ingo worked roughly the same way as me with Reaper - one instrument per track so the articulations/patches are changed by keyswitching or other controls. Its midi editor can open all tracks at once so one selects the track to edit or input, while seeing shadows of what's already there. 

Still, as long as we get it done!   I dare say working from either direction takes as much work.

.

A very fine piece, full of life and happiness. I feel the novelty created within the unusual scale. I think I have tried it myself once. It was a pleasure to listen, Jos.

/Kjell

Yes I use keyswitches in Reaper as you say Dane. I start with Sibelius and NotePerformer which helps me get orchestration ideas which I am now trying to refine with VSL. So pastels eh, you're giving away your secrets here, is there an app for that?

Jos your approach gives me ideas to work with, thank you. I suppose at some point notation software will be able to realize a score to our satisfaction without all the busy work, but it's still great to have these tools available.



Dane Aubrun said:

Hi jos,

Yes, I work the other way round from you - I put the music together in the daw, leave it for a few weeks, review it and if satisfied pass it over to notation software which I regard as codes for other musicians to do whatever they choose to do. I start a new work in a number of ways, have developed a shorthand that makes pencil or pastels far quicker than notation software. If I'm working closer to tonality and CPP I'll bung it straight in the daw.

I had believed Ingo worked roughly the same way as me with Reaper - one instrument per track so the articulations/patches are changed by keyswitching or other controls. Its midi editor can open all tracks at once so one selects the track to edit or input, while seeing shadows of what's already there. 

Still, as long as we get it done!   I dare say working from either direction takes as much work.

.

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