National Championships of Great Britain - Qualifying Bands - Championship Section

Discussion in '2007 National Championships of Great Britain discu' started by Di, Mar 18, 2007.

  1. Ian McElligott

    Ian McElligott New Member

    ......including moderation!!;)
     
  2. Anglo Music Press

    Anglo Music Press Active Member

    OK! OK! :cool:

    I didn't say I try not to write difficult music, but that I try to make whatever music I write as easy to play as poss. when scoring. I could have put some of that cad. in the sop. but that would have been different music (ie not a synergy of two players - which was the theory!)
     
  3. New South Welshman

    New South Welshman New Member

    :confused:

    You don't have to justify yourself to us!
     
  4. Thirteen Ball

    Thirteen Ball Active Member

    Sorry Philip - I wasn;t very clear there. I wasn't necessarily saying that's what you had done. I couldn't get a study score so other than what I heard (and thoroughly enjoyed) I'm not really in a position to comment on the scoring of the piece!

    I was just making the point that this kind of thing has previously been done (Not necessarily by yourself) specifically to test how well players can listen and overcome such tuning issues.

    And I'm definitely in agreement that there's no point making music hard for the sake of it. But if it has to be hard to sound how the composer wants, then so be it!
     
    Last edited: Oct 25, 2007
  5. Anglo Music Press

    Anglo Music Press Active Member

    Are you sure about that? Most composers I know don't like the contesting part of contesting.
     
    Last edited by a moderator: Oct 25, 2007
  6. Thirteen Ball

    Thirteen Ball Active Member

    I know composers of my level who've done it. That said, that's a long way from the highest level of composition! :oops:

    It's just a general statement based on things I've run across in some bass parts I've played. Sometimes It makes me think so - albeit I may have just misinderstood the composer's intentions.

    Though even if I could think of a specific example, without the compser's say-so it's impossible to attribute it to "Making things hard" rather than just being because that's how the composer wanted it to sound.

    (Doffs imaginary cap... stops digging hole...)
     
  7. Anglo Music Press

    Anglo Music Press Active Member

    I feel players will generally always be dubious about composers' motivations....... 'specially if they can't play something!
     
  8. Thirteen Ball

    Thirteen Ball Active Member

    Guilty, your honour.... :oops:
     
  9. Super Ph

    Super Ph Member

    I can't agree that playing in octaves is generally easier than playing in unison. Maybe for specific cases, but really not in general. Many of the hardest parts in banding are unison in octaves, and that duet mentioned above provides a good example.
     
  10. Will the Sec

    Will the Sec Active Member

    Ah, but there is the beauty of tMP. Mr Sparke can if he wants to.
     
  11. brassintheed

    brassintheed Member

    I think that something written in octaves CAN be a very difficult part (usually because it's a duet which has been written in a test piece). But the basic concept of two instruments playing at their natural levels in octaves with each other is much less dangerous and much easier to play musically than two instruments playing in unison. This is down to intonation issues, tonality, harmonics etc. basically it's easier to keep in tune, and differing tones and styles can potentially work as an advantage musically. The advantage of unison to the players is that neither of them feels as exposed, but I would say this would only ever be an advantage if musicality is not among the players strong points!
     
  12. Blagger

    Blagger Member

    Philip -
    Firstly apologies to mods as this may be a little off topic - but still relevant in regards to the "making the music hard for the sake of it" argument .
    This is a question I have always wanted to ask you ( never had the nerve to at college :) ) -

    Harmony Music - what was your thinking/musical reason ( for want of a better term) behind the extreme register of the Euphonium solo ?
    AND by writing that famous top "E" did you ever think how it would (in my opinion) open the the door for other composers to follow?
    I'm open to stand corrected but it was the first instance of such an extreme register - and BTW my favourite 6 or so bars of Euph writing ever ......
     
  13. Anglo Music Press

    Anglo Music Press Active Member

    Well, firstly, it was where I wanted the music to go, but I was unsure how wise it was. I took the cadenza down to my band and showed it to my euph player (who had just got her instrument out of the case) and she played it first time.

    So I left it in - and it was about 10 years before it was successfully played again! So blame her!
     
  14. brassneck

    brassneck Active Member

    - she wasn't a Scot by any chance? :rolleyes:

    (... if it's who I think it was, her hubby was also Scottish and played 2nd euph at Hillingdon Band too!).
     
  15. Anglo Music Press

    Anglo Music Press Active Member

    Yes, 'twas Shirley!
     
  16. brassneck

    brassneck Active Member

    - and Campbell Wilson was her hubby. I (& three others) used to compete against her school quartet from Tayport years ago and Campbell was solo euph at Cowdenbeath during the '70s. Memories! (... and that's how I knew about you before I knew about your music! I stopped playing during the '80s!).
     
  17. Blagger

    Blagger Member

    Thanks - thats a great story :)
    That's why I love the Desford performance so much - hearing Steven Mead "struggle" to get up there ( and - according to the 2nd Euph who was a college mate of mine- the only time he did have to reach for it) just made it even more exciting. I have other recordings with Euph players who make it with ease - but they lack something of that Desford performance IMHO.
     

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