… and a composer friend of mine pointed out that it would have been impossible to play on a real harp, of course I didn’t realise that when I composed the piece.
So… we are able to make instruments play passages that they normally would not be able to perform, which I see as a great thing. The flip side to this is that the realism we seek must give way. It is great that if we don’t plan on a real instrument playing a piece then we are not bound by the restrictions of a real performance.
Just some thoughts [img]images/icons/wink.gif[/img]
Writing for real musicians is a challenge. When I wrote Spider!, I took great pains to make it playable. And my friend\'s quartet has actually played it in Japan. (I hope I can record it at some point.) Apparently, there\'s only one bar that\'s really tough, so they just slow that bar down. During the composition process, I made many changes to make it more playable - like no bows and pizzicatos butting up against one another.
When I wrote the silly Chicken piece, I didn\'t bother to make it playable. The fast melody on the bass would be killer anyway, so I stretched the limits at will. I was more driven by finding the chicken sounds and moods than the technicalities of playability. And I was lazy. I could certainly clean up some dodgey parts without sacrificing a thing.
Then there\'s the in-between situation: it\'s playable, but only by three or four people on the planet. If you\'re writing for them, great. If you\'re writing for the junior high band, forget it.
But the bottom line is that it takes time and effort (and possibly musical compromises) to ensure playability. If you\'re under time pressure, and don\'t intend for it to ever be played live, feel free to make those samples bleed.