Comments on: Getting close http://ostimusic.com/blog/getting-close/ John Mackey, composer Mon, 21 May 2012 01:01:16 +0000 hourly 1 http://wordpress.org/?v=3.3.2 By: Cellist Caroline http://ostimusic.com/blog/getting-close/comment-page-1/#comment-1088 Cellist Caroline Fri, 31 Aug 2007 03:26:30 +0000 http://ostimusic.com/blog/getting-close/#comment-1088 Do you have a soloist in mind yet? We had an amazing sax player with us in Bakersfield last season. His name is Ashu, and after hearing his monster chops, he only needs one name. Here's his info: http://www.ashuonline.com/ -- Caroline Do you have a soloist in mind yet? We had an amazing sax player with us in Bakersfield last season. His name is Ashu, and after hearing his monster chops, he only needs one name. Here’s his info: http://www.ashuonline.com/

– Caroline

]]> By: Kevin Howlett http://ostimusic.com/blog/getting-close/comment-page-1/#comment-1087 Kevin Howlett Thu, 16 Aug 2007 23:28:41 +0000 http://ostimusic.com/blog/getting-close/#comment-1087 Arrgh. Here it is I think Arrgh. Here it is I think

]]> By: Kevin Howlett http://ostimusic.com/blog/getting-close/comment-page-1/#comment-1086 Kevin Howlett Thu, 16 Aug 2007 23:27:24 +0000 http://ostimusic.com/blog/getting-close/#comment-1086 Awesome--and I would have never thought of something like doubling the soloist's lines with someone else's to help with projection issues. God I need to go to college. Oh, I and gots a website up now! Awesome–and I would have never thought of something like doubling the soloist’s lines with someone else’s to help with projection issues. God I need to go to college. Oh, I and gots a website up now!

]]> By: John http://ostimusic.com/blog/getting-close/comment-page-1/#comment-1085 John Thu, 16 Aug 2007 20:13:29 +0000 http://ostimusic.com/blog/getting-close/#comment-1085 Great question, Kevin. The short answer is that it depends on the piece. When I wrote "Metal," I mostly orchestrated as I went. With this final movement, though, I knew that the beginning was brass, and I knew where I needed timpani and bass drum, but the rest of the scoring isn't determined yet. All of that stuff that appears to be a piano -- that'll be, well, not piano. I know, based on the texture, whether it'll be winds or brass, but I've no idea what, say, the sax section is doing at any given point. If, though, while I'm working on it, I think, "oh, this needs to be a clarinet solo," I'll make it that way in the short score. I did a lot of that with "Felt" -- orchestrated, at least generally -- as I went. With this finale, though, I just needed to get the notes out quickly -- and there are a hell of a lot of notes. Orchestrating this movement will be a bitch, because balance is really difficult. I have two big climaxes, and I don't know of any way to make them as aurally satisfying as they need to be without covering up the soloist. I might try some tricks like doubling the soloist with piccolo an octave above and maybe alto or tenor sax an octave below, hoping to give the impression to the audience that they're still hearing the soloist. Orchestration is kind of the most fun part because although it's creative, the really excruciating part -- finding the right notes -- is already done. And yeah, I was talking to AEJ last night about Corigliano's Clarinet Concerto, and the fact that because of that piece, I don't think I could EVER write a clarinet concerto. It makes me think, Why bother? Great question, Kevin. The short answer is that it depends on the piece. When I wrote “Metal,” I mostly orchestrated as I went. With this final movement, though, I knew that the beginning was brass, and I knew where I needed timpani and bass drum, but the rest of the scoring isn’t determined yet. All of that stuff that appears to be a piano — that’ll be, well, not piano. I know, based on the texture, whether it’ll be winds or brass, but I’ve no idea what, say, the sax section is doing at any given point.
If, though, while I’m working on it, I think, “oh, this needs to be a clarinet solo,” I’ll make it that way in the short score. I did a lot of that with “Felt” — orchestrated, at least generally — as I went. With this finale, though, I just needed to get the notes out quickly — and there are a hell of a lot of notes.
Orchestrating this movement will be a bitch, because balance is really difficult. I have two big climaxes, and I don’t know of any way to make them as aurally satisfying as they need to be without covering up the soloist. I might try some tricks like doubling the soloist with piccolo an octave above and maybe alto or tenor sax an octave below, hoping to give the impression to the audience that they’re still hearing the soloist.
Orchestration is kind of the most fun part because although it’s creative, the really excruciating part — finding the right notes — is already done.

And yeah, I was talking to AEJ last night about Corigliano’s Clarinet Concerto, and the fact that because of that piece, I don’t think I could EVER write a clarinet concerto. It makes me think, Why bother?

]]> By: Kevin Howlett http://ostimusic.com/blog/getting-close/comment-page-1/#comment-1084 Kevin Howlett Thu, 16 Aug 2007 20:04:38 +0000 http://ostimusic.com/blog/getting-close/#comment-1084 Oh, while I'm here: How you do orchestrate your music? I guess a more precise way of asking is "how do you come to the decisions you make when you orchestrate"? For me, 90% of the time when I compose I have a very clear idea of what I want and how I want it to be orchestrated. Is it the same for you or do you work on getting the notes down first and then concern yourself with orchestration? If that makes any sense. Oh, while I’m here:

How you do orchestrate your music? I guess a more precise way of asking is “how do you come to the decisions you make when you orchestrate”? For me, 90% of the time when I compose I have a very clear idea of what I want and how I want it to be orchestrated. Is it the same for you or do you work on getting the notes down first and then concern yourself with orchestration? If that makes any sense.

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