Mentoring Program

Calliope

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This wind quartet begins with a slow, simple introduction, but quickly gets more complex as the piece progresses. In this light, happy tune, the melody passes from the flute to the oboe to the bassoon. Although the clarinet never gets a chance at the melody, it has its moments as well.
Grade Level: 10
Intended For: Live Instrument Performance
Software Used: Noteflight
Instrumentation: Flute, oboe, clarinet, bassoon
Key: D major
Meter Signature: 4/4
Tempo: 70 bpm, 60 bpm
Status: Work in Progress
Noteflight URL: Website Title
File 1: application/pdfDownload

Comments   

#10 Erik Nielsen 2017-04-12 11:05
Dear Anna,
I've checked out the parts and they look good. There's one odd thing, namely that there are no bar numbers after the top of page 2 in the individual parts, but there aren't that many remaining after that so the players can't count forward. I've printed the parts, and I've also got the score (it's really small print but we can live with that). Make sure you bring a copy with you when you come to Opus 32. Your bio and piece description look good, as long as they are as you want them to be.
I'll let you know if there's anything else. I look forward to hearing the piece at Opus 32.

Best wishes,
Erik
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#9 Anna Halladay 2017-04-12 10:28
I uploaded the PDF with the individual parts, so hopefully you can access that. There are some minor issues with formatting (where some markings overlap with others), but unfortunately the new version of Noteflight makes those details much more difficult to work out. I think it will still be legible, but let me know if I should try to fix that.

Thanks for all of your help with this piece! I'm looking forward to the performance. Let me know if I should make any changes!

Thanks,
Anna Halladay
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#8 Travis Ramsey 2017-04-11 20:06
Anna, everything looks good to me. I just gave it one last look. I think you should also give it one last look, and then you will be ready to ... click Print Individual Parts, save the files as PDF files, and upload them to this page. Post a comment so I know you're done, and then all you have to do is wait for the concert. Beautiful work on this piece, I know it will be fantastic to hear live!
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#7 Anna Halladay 2017-04-11 09:37
Hi Travis,

I made the changes you suggested and wrote a comment the other day, but I guess it didn't go through. The score should be updated now! Let me know if there is anything else you need me to do.

Thanks,
Anna Halladay
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#6 Travis Ramsey 2017-04-09 19:06
Hi Anna,

Don't forget that we need to have your completed work with the score prep instructions done (the ones I sent out in comment #3 and #4 below) as soon as possible. thanks!
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#5 Travis Ramsey 2017-04-05 19:58
Hi Anna,

Regarding the bassoon, I did some research. The extension tube that a bassoon needs to perform a low A is definitely not standard equipment, so you'll need to change that note. Since you only use it to play the D-A-D-A bass pattern, I suggest leaving your D's where they are and just bumping that A up an octave whenever it comes.
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#4 Travis Ramsey 2017-04-04 21:14
And now, the detailed comments I promised. First of all, congratulations on a very clean score. You don't overuse dynamics, and so this is a fairly short list.
The first item will require some research on my end. In order for a bassoon to play a low A, a special extension tube needs to be added to it (as bassoons can not "naturally" play this note). And often, the added tube can affect other notes. I'm not a bassoon expert and so I'll send my question upstream to find out. This is what I'll ask on your behalf: (1) does our bassoonist travel with an extention, and (2) do the low notes D and C# suffer when it is used. I'll ask them to chime in on our page here to let us (both) know.
At measure 38, it would be good to reiterate the MF marking in flute and oboe.
At measure 45, because there is a rest before it, I don't think you need the "subito" marking at all. I reserve the mark for when two contiguous notes have a drastic change in dynamic and they are not separated by a rest.

Make sense?
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#3 Travis Ramsey 2017-04-03 21:17
Congratulations ! By now I imagine you've heard that your composition has been chosen for the Opus concert. Over the next week you and I will have the rather un-exciting task of going over it note by note and correcting every little thing. The idea is that if we can make the score as easy to read as possible, the performers will play it exactly the way you want it to sound the first time, and you can spend the rest of the rehearsal slot working on style, and interpretation, instead of explaining how a certain rhythm goes.
I will give you a more detailed list tomorrow, but before then could you please check for the following things:

1. Title is exactly as you want it to appear in the program.
2. Composer name is exactly as you want it to appear in the program.
3. You've completed your description of the piece, and it's exactly like you want it to appear in the concert program. This is very important, because the audience will read this BEFORE they hear the music. What do they need to know about the piece to understand what they are about to hear?
4. Your bio is accurate.
5. EVERY single musical entrance has a dynamic at the start of it. If an instrument plays, then exits, and then plays again at least a measure later, it should have a dynamic marking. Crescendos or diminuendos should always show the "new" dynamic after them: p < f. Otherwise we don't know how loud to end up.
6. Tempo marking at the beginning is correct, and you are very clear about other tempo changes (if any) after that).
7. Please also make sure any empty measures have a whole rest in the middle of the bar.

Please work on these things as soon as possible, and I will check in with a more detailed list tomorrow evening.

Exciting news, but time to get to work now!

Travis
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#2 Erik Nielsen 2017-03-31 10:04
Dear Anna,
Thanks for submitting the final version of your piece. For future reference, Noteflight updates every version automatically, so just renaming your original posting file will be less confusing in the future than putting up a completely new posting. I'll make sure other mentors know to look at this version, though some would like to see the conversation that went on during the process and will miss that here. I'm glad you completed this.

Best wishes,
Erik
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#1 Anna Halladay 2017-03-30 21:31
This is my revised submission for Opus 32! I haven't gotten much of a chance to submit it at various stages of completion, but I did manage to bring it all together at the end. I understand that there are still many edits that might be made, but hopefully, it is enough to be selected for Opus! At this point, I would appreciate any feedback, especially about articulation. I have some things in mind that I don't think I was able to convey very well onto the paper, and I would love some input on ideas for articulation. Again, any feedback is welcome!

Thanks,
Anna Halladay
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