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Thread: National Championships of Great Britain - Qualifying Bands - Championship Section

  1. #151
    tMP Master Friend brassintheed's Avatar
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    Quote Originally Posted by Super Ph View Post
    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.
    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!

  2. #152
    tMP Senior Friend Blagger's Avatar
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    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 ......
    Solo Euphonium
    Lostock Hall Memorial Band
    Salford College 87-91

  3. #153
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    Anglo Music Press's Avatar
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    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!
    Philip Sparke
    Anglo Music Press
    The music of Philip Sparke

    for more details, visit
    www.philipsparke.com

  4. #154
    Quote Originally Posted by Anglo Music Press
    So blame her!
    - she wasn't a Scot by any chance?

    (... if it's who I think it was, her hubby was also Scottish and played 2nd euph at Hillingdon Band too!).
    It's not how you play ... it's the way how you play it!

    tMP Banding Boffin Award 2005, 2006, 2007, 2008, 2009, tMP Saddo Award 2007, tMP Best Picture Award 2008

    My Public Domain Arrangements

  5. #155
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    Yes, 'twas Shirley!
    Philip Sparke
    Anglo Music Press
    The music of Philip Sparke

    for more details, visit
    www.philipsparke.com

  6. #156
    Quote Originally Posted by Anglo Music Press View Post
    Yes, 'twas Shirley!
    - 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!).
    It's not how you play ... it's the way how you play it!

    tMP Banding Boffin Award 2005, 2006, 2007, 2008, 2009, tMP Saddo Award 2007, tMP Best Picture Award 2008

    My Public Domain Arrangements

  7. #157
    tMP Senior Friend Blagger's Avatar
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    Quote Originally Posted by Anglo Music Press View Post
    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!
    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.
    Solo Euphonium
    Lostock Hall Memorial Band
    Salford College 87-91

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