Happy New Year guys and gals, so what are y'all's goals for this new year compositionally? My personal goal is to purchase Cubase and learn it so I can start producing my own demos without having to rely on publication or live players who can easily misinterpret my music.

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  • That sounds wonderful, my friend, way to go! Write a great piece, and they will want more in the future. They will be like, "Hey, isn't about time for another Lofting piece?"

    Michael Lofting said:
    If you are a professional composer or have the right connections must make it easier to get pieces played. I must confess to being envious.

    I play viola with the Unley Symphony Orchestra, not professional but we are seventy strong and have a great conductor (Peter Webb).
    Peter will often let local composers get a run through at a rehearsal if we're not too busy. For many this is as close as they will ever get to a real performance.
    I got three.
    At the end of the last run through apparently I had a lobby group working on my behalf to get an actual performance.

    Big challenge after that is to get other pieces performed.

    I believe that Sibelius, Finale and probably most others give a false impression of how horns sound in real life.
    During the run through I had a talk with the players because I wasn't getting the sound I was after so I learnt about mutes, stopped and half stopped notes from them.
    There are some good videos around by players demonstrating techniques and talking about limitations.
    Other instruments it's more about matching the character with the part I think.
    What are Your Compositional Goals for 2015?
    Happy New Year guys and gals, so what are y'all's goals for this new year compositionally? My personal goal is to purchase Cubase and learn it so I c…
  • Also horn samples in general tend to give the wrong impression on how horns sound like in real life. Horns are more mellow in real life. To get that raspy brassy tone an entire section of 6 horns or more would have to be playing fff trying to blow their bells off. Film composers will often record live horns then "sweeten" the sound with samples sometimes adding 30 horns or more! Hans Zimmer and his company does this all the time. And the other problem with horns is that they are the cry babies of the brass section. They whine as much as oboe players or 1st violins. What kind of sound are you going for? Maybe I can help?

    Michael Lofting said:
    If you are a professional composer or have the right connections must make it easier to get pieces played. I must confess to being envious.

    I play viola with the Unley Symphony Orchestra, not professional but we are seventy strong and have a great conductor (Peter Webb).
    Peter will often let local composers get a run through at a rehearsal if we're not too busy. For many this is as close as they will ever get to a real performance.
    I got three.
    At the end of the last run through apparently I had a lobby group working on my behalf to get an actual performance.

    Big challenge after that is to get other pieces performed.

    I believe that Sibelius, Finale and probably most others give a false impression of how horns sound in real life.
    During the run through I had a talk with the players because I wasn't getting the sound I was after so I learnt about mutes, stopped and half stopped notes from them.
    There are some good videos around by players demonstrating techniques and talking about limitations.
    Other instruments it's more about matching the character with the part I think.
    What are Your Compositional Goals for 2015?
    Happy New Year guys and gals, so what are y'all's goals for this new year compositionally? My personal goal is to purchase Cubase and learn it so I c…
  • I am working towards being s college professor. Most universities require professors do you have award publications or other accolades. It is very important that I get my name and music out in the world before I start applying for a position.
    As far as the book, I want to write a book not on individual composers lives but on the career of composing itself. There is almost nothing out there on this topic and it is taken for granted quiet a bit. The fact that we call ourselves composers is an amazing feat because for several hundred years people who wrote music did not consider themselves as such.
    As far as festivals, I would love to go participate in the aspen music festival, tangle wood, the Bach festival in Oregon, as well as a few local festivals and conferences with SCI and NACUSA. I already have plans to go to the SCI region VI conference but I missed the deadline to have a work performed there so I'm going just to observe.



    Rodney Carlyle Money said:
    Are looking to be a college composition and theory professor, and how will your book be different than what is already out there?and also, what are these festivals you are talking about?

    Tyler Hughes said:

    This year is about buffing up my resume before I start the job hunt. 

    Im going to enter as many competitions as possibles and work on getting either published (paper or music) or a residency somewhere. I would also like to start writing my book on composers and how the career of composing evolved. 

    I am also going to enter a few festivals and workshops to really start learning from the best and get the best performances possible. 

    So 2015 has a lot on my plate. 

  • I just bought a new Tuba for myself for Christmas so I'm writing, practicing, programing, and producing an online recital (and recording of course) of all my works for Tuba.  

    -t

  • When I'm on my desktop computer for some reason it won't let me use the quotes so I hope you guys see these next few posts.

    Hey Tim,

    New toys are great, but we performing musicians know that new babies are even better. And with a new baby comes new inspirations and a renewed spirit concerning both creation and performance. So tell me more about this "online recital." That is a new term for me. So congratulations on the purchase of your new tuba. Go now, write, play, perform, record, and post it here so other composers can say, "I didn't know a tuba could do that, that's the best tuba piece, and only piece, I've ever heard, but now I want you to go and write a piece for other instruments such as strings." LOL.
  • Will it be a string quartet or string ensemble? Plus are you paying the performers or do you have something else worked out? How will you make jazz sound modern and what will the lyrics be about? Concerning the rock album, it sounds as though it will be a mixture of 60's drug inspired music meets the 70's free jazz? Concerning the AE experiment, it sounds like a more organized version of free jazz in the 70's which in my view put the final nail in the coffin of the general public liking jazz as a form of popular music. Then, we had to teach jazz to the youth in schools that, "Hey, it's still cool and an American art form so schools would respect it again." These are just my humble observations though, and since I have perform lead trumpet in many jazz ensembles and even taught classes on improv I feel as though I have the credentials to share my opinion. What are your goals and expectation with these experiments then? I do understand your point about the human element but using yourself as a filter, it reminds me of a conductor or simply trying to abide by the composer's original interpretations of the works, but I have found out recently the more I get my works published the more my human element and original interpretations become absent. That's why now I am turning to computers so I can put every element of myself back into my pieces one note at a time and show the true interpretation and have total control of my work, and what's more human than that? But like I said this is just me thinking out loud and just my opinion at this state of my life. I'm sure in 5 years my thoughts will totally change again on the matter and say computers suck, LOL. Thank you for letting me share and letting me dig a little more in your thought process concerning your goals. May you see each of them through.

    Chris Alpiar said:

    My goals for 2015 as a composer involve the writing and production of a classic but modern Jazz vocal album with strings; a hallucinogenic rock album with lots of free improvisation but with compositional constraints to keep it focused and the continuation of my Æ (Alpiar Experiment) free improvisation project with composition being a series of cue cards that I call out cue numbers for focus points during extended improvisation. Ill do this all with live musicians, no computerrrrssssssss, because I believe music should be a human organic experience that is about interpreting the human condition into music using my body as the filter

    What are Your Compositional Goals for 2015?
    Happy New Year guys and gals, so what are y'all's goals for this new year compositionally? My personal goal is to purchase Cubase and learn it so I c…
  • I'm gonna get a keyboard and start learning to play it. Possibly go attend a piano class. I wanted to do a cello, but I was advised that it would take years to get to play strings right, so I'm going for a piano. That, and improve my right hand techniques for my guitar. I think that should make a good year. :)

  • Yours is a very formidable and noble endeavor.  I shall attempt to compose music in -4/4 time.  I know what you're thinking, that this is nothing more than playing music backward.  But you are wrong, tuba breath.  This music is for time travelers who wish to listen to music as they commute to say the 14th century.  Backward music moves backward as time moves forward.  Negative music moves forward as time moves backward.  It's the mirror image of back-masking.  We composers must look to the future (or to the past depending on our direction of time travel.)
     
    Kristofer Emerig said:

    I'd like to write something in an irrational time signature, like √3/2.. then name it in Hebrew, like this:

    טש

     

    What are Your Compositional Goals for 2015?
    Happy New Year guys and gals, so what are y'all's goals for this new year compositionally? My personal goal is to purchase Cubase and learn it so I c…
  • Lawrence, your statement makes me think of this piece by Bach https://m.youtube.com/watch?v=xUHQ2ybTejU

    Lawrence Aurich said:

    Yours is a very formidable and noble endeavor.  I shall attempt to compose music in -4/4 time.  I know what you're thinking, that this is nothing more than playing music backward.  But you are wrong, tuba breath.  This music is for time travelers who wish to listen to music as they commute to say the 14th century.  Backward music moves backward as time moves forward.  Negative music moves forward as time moves backward.  It's the mirror image of back-masking.  We composers must look to the future (or to the past depending on our direction of time travel.)
     
    Kristofer Emerig said:

    I'd like to write something in an irrational time signature, like √3/2.. then name it in Hebrew, like this:

    טש

     

  • Or this piece by Matthew McConaughey https://m.youtube.com/watch?v=NcGhLcVqxf0

    Lawrence Aurich said:

    Yours is a very formidable and noble endeavor.  I shall attempt to compose music in -4/4 time.  I know what you're thinking, that this is nothing more than playing music backward.  But you are wrong, tuba breath.  This music is for time travelers who wish to listen to music as they commute to say the 14th century.  Backward music moves backward as time moves forward.  Negative music moves forward as time moves backward.  It's the mirror image of back-masking.  We composers must look to the future (or to the past depending on our direction of time travel.)
     
    Kristofer Emerig said:

    I'd like to write something in an irrational time signature, like √3/2.. then name it in Hebrew, like this:

    טש

     

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