-
First woodwind composition
-
«Enjoyable» is not the usual statement one links to twelve-tone music.
Then, inspiration and life find a gap even in the most inteletualized effort —if it is a sincere one
and coming from a skilled artist.You did a very good job here and VSL Woodwinds are the final back up to it.
VI Special Edition 1-3, Reaper, MuseScore 3, Notion 3 (collecting dust), vst flotsam and jetsam -
I got myself some VSL woodwind libraries this month. A good opportunity to write a special composition for it. Also wrote an article / blog post about it. Hope you like it!
Great job. Great composition!
-
Thanks everybody! Really appreciate the feedback.
btw how on earth did you put the breathing-in sound in measure 6?? Sounds like real players!
I recorded my own inhales, both through nose and mouth to simulate the different players breathing 😉
Ruben
-
Hi Ruben !
Nice and very interesting work !
You wrote "I got myself some VSL woodwind libraries this month" and in your blog you mentioned "1 flute / piccolo, 1 oboe, 1 Bb clarinet, 1 bass clarinet and 1 bassoon. One solo instrument for each sample library I got".
Can you please tell me exactly which specific (VSL-)instruments/libraries you did buy/use ?
Kind regards,
Elka
-
I enjoyed your piece - great job making 12-tone music more accessible with the rhythmic drive you created and the passing of the theme among the instruments. I love the sound of the Vienna woodwinds!
One word of caution though with the breaths: make sure they are fully finished before a note starts and that they are not too loud. The breath before the pick-up note leading into measure 7 in the bassoon bleeds into the bassoon notes, and because of this the breathing actually sounds un-realistic as the breath would be fully finished before you hear the note played. The rest of the instruments that come in on the downbeat of measure 7 would need their own breath separate from that of the bassoon (and this one would be less audible since they are not cueing). I just spent the day teaching breathing and cueing to a chamber music class so I'm being a bit nit picky because this is exactly what I have been explaining to my woodwind students all morning.
Great job shaping the phrases too. Are you using a mix of expression and velocity x-fade? I'm still learning what my best balance with this is.
- Becky
-
As this was my first time simulating the breathings this way these kind of notes are very useful. Thank you so much Becky!
I try to do as much as possible with only velocity x-fade. I have dedicated faders assigned to the x-fade and expression (and other parameters) and record the x-fade along with the notes for the best human feel and timing. After that I look what needs to happen with the expression. Sometimes I draw the automation, sometimes I record it as well. Depends on the tempo and complexity of the automation.
Something that occures regularly is that I move the velocity x-fader too slow so you will hear a clear fade between samples which isn't always pretty (at least with solo instruments, with ensembles like Epic Horns I really like the in between sound). When this happens I adjust the x-fade parameter for a quicker fade and compensate the general feeling with expression.
-
Thanks Elka! I used: Piccolo st.; Flute 2 full; French Oboe st.; Clarinet (Bb) 1 Full; Bass Clarinet st.; Bassoon 2.
Hi Ruben, thank you very much indeed for your (quick) reply ! Elka
-
P Paul moved this topic from Orchestration & Composition on
Forum Statistics
182,341 users have contributed to 42,220 threads and 254,759 posts.
In the past 24 hours, we have 3 new thread(s), 11 new post(s) and 54 new user(s).
