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Topic: Baermann Tarantella

  1. #1

    Baermann Tarantella

    Hi everybody,
    this is my first post and my first orchestrationwork with GPO4 and Finale 2011. This piece is a piano accompaniment for a italian like Tarantella in a traditional german clarinetschool by
    Heinrich Joseph Baermann

    It was a little fast copy/past work, but i like to get some tips to make it more colorfull or use better colors, or to master a more full sounding way. You can listen to the piece here and watch the score here. I plan to use such accompaniments for my teaching.

    Thanks everybody for spending time and thoughst

  2. #2

    Re: Baermann Tarantella

    Greetings, Rainald, and welcome to the Forum. Thank you for plunging right in by posting some music.

    What a nice, tidy piece this is. I haven't heard it before, so have no preconceptions about it. I enjoyed its simple little musical journey, and think the rendering sounds pretty good.

    There are several Finale experts who are members of the Garritan Forum, and hopefully some of them will get on your thread and respond to your request for tips on getting more out of playback in Finale. I use DAW software, so can't come up with Finale-specific info that could help you get more out of the program.

    You did ask for help on getting a more full sound, and here's one that I think may apply to Finale as well as programs like Sonar which I use. It's to be the topic of my new "Tip of the Week" in General Discussion - look for that Forum in the Forum menu, by the way. I think you'll enjoy dropping by that Forum also - Those are probably the busiest pages here.

    --Once you open the ARIA interface which has your instruments in it, notice the little window of information below each instrument name. The numbers on the far right, "01" through "16" indicate the MIDI channel an instrument is on.

    --If you have any empty slots left in that instance of ARIA, you can use those to add more instruments. They wouldn't be added to your score - they would be new insertions of instruments in the same family. For instance, if you have "Flute Player1" in ARIA, you could add "Flute Player2" and by hand, set its channel to be the same as the Flute already inserted. You could move the Tune control to make it slightly more sharp or flat. The idea is that score will drive the first Flute, as it does now, but the second Flute will also be sounding, giving a more full sound.

    That may all be easier said than done in Finale - I'm not sure. But I think you can double instruments in that way, same as DAW software users.

    Thanks again for the lovely music. It's sounding quite nice already.


  3. #3
    Senior Member Frank D's Avatar
    Join Date
    Apr 2006
    Suburban NYC

    Re: Baermann Tarantella

    Welcome, Rainald!

    This was a pretty ambitious piece for a first-post! Nice work; I really enjoyed it. It has such a nice, stealthy undercurrent.

    As Randy mentioned, hopefully some forum members who use Finale as the means of constructing their music will offer suggestions on how to work this way.

    At first, I was comparing this piece to the more traditional Italian Tarantellas, the fast folk dances almost always in 6/8. But when I looked it up, I was surprised to find that Tarantellas were originally in a quadruple meter. This Italian-American learned something today!

    Good luck and keep posting your music; this was very good.



  4. #4

    Re: Baermann Tarantella

    Hey Rainald! I think this is a nice orchestration. The dynamics that you applied seem quite appropriate for the piece.
    I enjoyed this. Thanks for posting it.

  5. #5

    Re: Baermann Tarantella

    Thanks to you all and for your tips and critic. It's nice to be recieved with cheers.
    Maybe I find the time to a the missing melody to the piece, to make it more clear. Today I tried to get GPO work on my old Logic 5.5.1 looking for another way of working but it isn't working. I han not work with logic for a long time and forgot most of my knowledge...

    So thanks again und best wishes

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