It was done 99% in Finale via GPO Studio. Only the ritard at the end was done in Cakewalk, and the MP3 was created using the bundled Cubasis. An ensemble of like instruments is probably a very strict test of a library--little to mix--, and I am pleased with the way GPO performed here...
I used 4 solo instruments: trumpet solo 1 & 2, horn 1, and tuba 2 (tuba 1 is \"different.\"), with the Ambience reverb...so this is a real \"out of the box\" experience
I can already see some notes I should have edited a bit more and some other things to do, but I\'ll throw myself on the mercy of the court. When time permits, I will revise the notes I want to fix. I\'d welcome mixing and reverb advice and anything else I might have overlooked.
Thanx to all who have corresponded with me since I\'ve bought GPO.
I can\'t believe I almost missed this one. Fantastic rendition - especially for doing It was done 99% of it in Finale. It must have taken a long time to notate this. Using some of the controls in GPO could make this piece shine even more. Hope you don\'t mind if this makes its way to the GPO demo page. Could you tell us a little about the piece - when it was written and about the composer.
You are more than welcome to take this if you want! Before you do, PLEASE elaborate (when time permits) on your advice to make it shine more in GPO. All advice eagerly & cheerfully accepted!!
I\'ll send you all the info about the piece off-list. Houston and other brass players can probably play their part of this from memory...it\'s a staple of \"brassdom.\"
Thanx for the kind remarks--I felt some trepidation about posting since I\'m not a keyboard player or a sequencing whiz, but GPO responded so nicely...
Back to grading papers...ecch [img]images/icons/mad.gif[/img] ...Jim
Here are some old program notes I did for this piece:
GIOVANNI GABRIELI Born in Venice 1557, Died in Venice (thus a harbinger of things to come for you Thomas Mann fans) 1612.
CANZONI PER SONARE NO.2 (of at least 4, give or take three)
The Canzona was an important instrumental form of the 16th and 17th centuries, an outgrowth from the Franco-Flemish chansons (songs) of Jannequin, Clemens non Papa (the Barry Manilow of his day), and others published in Italy in the 15th and 16th centuries. The immense popularity of these pieces led to numerous arrangements for lute and keyboard. Unfortunately, most people could never hear the lute when it played, so other more easily audible instruments such as (the aptly-named) racketts, shawms, krummhorns, sackbutts, etc. took up the songs.
Frustrated with the inaudibility of the lute and the attitudes of 16th-century divas, later composers wrote original instrumental pieces in the form of some of these canzoni that they called Canzoni da Sonare, i.e. songs to be sounded rather than sung.
Giovanni Gabrieli, organist at St. Mark’s in Venice, made full use of the musical resources, choral and instrumental, available at that great center of musical activity. In 1608 he published a collection of six instrumental canzoni entitled Canzoni per sonare con ogni sorte di stromenti (Canzoni for small pickup ensembles). Only very rarely did Gabrieli designate specific instruments for performance, a practice just coming into favor. You wanna get your piece played, you take what\'s available...Very often these pieces were played antiphonically, one player or small group standing in each of the Cathedral\'s four corners, thus creating a 16th century version of Surround Sound.
I enjoy brass bands and this is pretty good; I look forward to hearing the tweaked version. Not being knowledgable in brass band history I was surprised that this was written 400yrs ago! Parts of it don\'t sound at all dated.