Need help please - writing my first score...

[Alan Lastufka]

Hola all!

So, a friend called me up a couple days ago, a friend I haven\'t spoken to since high school three years ago. She is now a violin major and after listening to my GPO pieces, she would like to begin performing them live with her string quartet.

Unfortunately, they exist only as un-quantized midi files right now and I wouldn\'t know where to begin to make them readable scores.

I\'m fine with note duration and placement on the staff, but I don\'t know how to notate a pizzicato, or up-down bowing, or how to basically notate the mod wheel stuff; the expression. Granted the individual players should be able to perform it with those emotions on their own, but a little guidence couldn\'t hurt...

If anyone can help me take my midi GPO pieces to realized scores I would be extremely grateful! (I\'ll even send you a GPO t-shirt / they will be finished Wednesday, for those that are waiting).

Thanks to anyone that could help...

[crr]

I think I can help you.
If you want go there

http://utenti.lycos.it/icorradin/musica/ (\"http://utenti.lycos.it/icorradin/musica/\")

and you download the \"primo tempo\" or the \"terzo tempo2\" overture file you can see an example. I putted all my staff as a quartet piece in overture. I used the crescendo and so on staff, I use slurs (I didn\'t remember exactly the english term now) to sign how to use the bow and ppizzicato, ..
I\'m not a \"professional\" composer but I also play the violin so i now something about notation for strings.
If you want send me your file at corradin@uclink.berkeley.edu (\"corradin@uclink.berkeley.edu\") and I can help you writing it in overture.
Just check if you can see my files because someone with PC told me that he can\'t open them otherwise I don\'t have any hope to exchange files with you (i\'m on mac).

[CString]

Hi Alan,

Whenever you present scores for performance you should make sure they are as clear as possible. Performers will expect certain conventions. If you need to deviate from those conventions then you should put a note to the performer at the start of the score describing what you want - examples never hurt. I always put that stuff on the back of the cover page.

For pizzicato, just write \"pizz.\" where you want them to pluck and when you want to go back to the bow write \"arco.\"

You MUST place dynamics in the score. Performers will add them to a certain degree but it will not turn out how you expect if you don\'t mark them. Unless you want the performer to determine the dynamic. Then you would put that in the performance notes so they are aware of it.

Don\'t worry too much about bow strokes unless you have learned what the differences are. If you don\'t mark it the performers will take care of it. If you need to mark them, the V symbol is an upstroke and the square without a bottom is a downstroke (arm moving away from the instrument).

You do need to worry about slurs, though. Typically when you write a slur for strings they will play it in one bow stroke. Some phrases are too long for that but good string players can make the direction change go almost unoticed.

I would suggest you pick up Sam Adler\'s book on orchestration and instrumentation. It has all of the info you are looking for.

Hope that helps you get started.

-Chad

[Alan Lastufka]

Thanks guys,

crr, I just d/l\'ed the files and will see if I can read them tonight when I return to the GPO Studio...

CString, thanks for the crash course, I\'ll do what I can with this info and hopefully post a pdf of the score soon, that way you guys can visually see it and let me know about any mistakes?

Thanks again,

AL

[CString]

No problem Alan. I\'ll take a look when you\'re done.

Also, I didn\'t mean to say you should just forget about bow directions/strokes. Only that the differences in types of stroke are many and varied. Some are really subtle and some the performer will do automatically based on the expressive direction in the score. I just meant that it takes a little while to digest all of it and, if you are putting the score together now, you may not have time to sort it all out. Definitely check out the Adler book. You won\'t regret it.

Chad

[FossMan]

[ QUOTE ]
Also, I didn\'t mean to say you should just forget about bow directions/strokes. Only that the differences in types of stroke are many and varied.

[/ QUOTE ]

In my experience, I agree with CString. I heard once that writing in all the bow strokes is a bit like telling the string player how to play their instrument. With that in mind, I try to avoid bow markings unless I want something specific.

Keep in mind that generally a down-bow is stronger than an up-bow. If you want two strong sounding notes in a row, you might notate two down-bows (and vice versa for soft sounds). It is also a genral practice that downbeats are played with the down-bow, up-beats with the up-bow (a very general and loose statement). You want to try playing \"air violin\" to your parts to get a feel for how the notes will fall on your arms.

[crr]

yes, I agree with FossMan and CString and I would suggest you also to take into account to \"rewrite\" or \"correct\" part of your music after meeting with the players: ity can happen that you decide to use different bow strokes to enphasize a theme for example.
I suggest you to llok at what I did to have an example. If you can try to take a \"simple\" quarete piece that you know and look at how it\'s written to understand better how to write.
Post a pdf and I\'ll try to help you as I can.
If you prefer, you can also send it to me by email. If you need \"more\" help probably it wold be better an overture file so I can put some sights and you can see them.
Michael

[mschiff]

Alan,

What program did you use to create the scores?

If it is not in Overture, then quantize (a separate copy of course) the h*** out of them and open the midi files in Overture. Then you can add all the dynamic markings, the \"pizz\" indicator, etc. It is really very easy to do.

-- Martin

[Alan Lastufka]

I draw everything out in Cubase SX\'s keyeditor with my mouse...

I am going to rewrite into Overture this evening, the accidentals and ornaments (correct?) are what are giving me the trouble...

[crr]

I have also cubase sl 1 so probably I can see your sx files but I think it\'s better for you to rewrite your staff in overture to get more powerfull printing options
Michael

[danpowers]

[ QUOTE ]
In my experience, I agree with CString. I heard once that writing in all the bow strokes is a bit like telling the string player how to play their instrument. With that in mind, I try to avoid bow markings unless I want something specific.


[/ QUOTE ]
This is a good thing to keep in mind. You want your intentions to be clear, but you don\'t want to waste time notating every little detail and nuance. If you have good players, they\'ll be able to do this much more effectively by themselves.

As a composition student, I used to put breath marks at the end of every phrase when I was writing for winds. I thought I was just being precise in my notation, until a clarinettist friend looked at one of my scores and asked, \"What\'s with all the breath marks? Do you think we\'re going to forget?\"

[Styxx]

Alan, don\'t worry. The Monks are waiting for your trascript with quill and parchment in hand. That\'s if you don\'t mind neumes and a little ink blotch here and there. /ubbthreads/images/graemlins/grin.gif

[dubaifox]

[ QUOTE ]
I thought I was just being precise in my notation, until a clarinettist friend looked at one of my scores and asked, \"What\'s with all the breath marks? Do you think we\'re going to forget?\"

[/ QUOTE ]

You most often see breath marks in wind music written for youngsters. Students will breath on every note (flutes especially) if not taught properly.

They help to show where the musical phrases are, and are used more to tell students where NOT to breath.

[88fingers]

Hi Alan,

If I may make a small sugestion? I would suggest buying Samuel Adler\'s, THE STUDY OF ORCHESTRATION. It is an absolute must have for learning orchestral limitations and scoring. If you want, you can buy the 6 CD set that goes along with it to here exsamples of each instrument and different voicing combinations .

They sell it at amazon.com

It has really beniffeted me and the book shows you how to notate articulations for each instrument.

The other thing you can do is ask your freind to help you with the articulation markings. She would know all of them for the string instruments.

Unless, she thinks you to be a super hero composer, that knows all there is to know about every thing, and you don\'t want to let her down, then perhaps you wouldn\'t want to ask. /ubbthreads/images/graemlins/grin.gif


Good luck.
We\'re rootn\' for ya. /ubbthreads/images/graemlins/laugh.gif